In today’s workshop, we studied the essentials of Adobe Illustrator, and how to execute certain techniques using shortcuts. Unfamiliar with the software, I fount the session particularly useful.

Adobe Illustrator is known for working with vectors, where shapes and paths are mapped out based upon their geometrical formations, as oppose to their still image visual seen with Adobe Photoshop. This enables a freedom to resize elements without corrupting the pixel quality. This can be ideal when working with logos and typography.

Another benefit to Adobe Illustrator is its ‘artboards’ feature, where numerous spreads can be perceived side-by-side on a multi-canvas layout. This allows for easy comparison and development to occur, where graphic variation is easy to produce and review, aiding project progression.

Basic skills covered in the initial section of this workshop involve the use of shapes, colour, gradients, copy and paste, step and repeat, use of the direct selection tool with regards to the modification of anchor points, and finally the use of the pathfinder tool to unite two vector components. I also learned that cmd + y produces a visual for the anchor points and path formations in a linear, simplistic form. This is helpful as it allows for an understanding of the vector form and how to work with these.

Our next investigation involved typographic stylisation and modification. Using the ‘futuristic fonts’ source image as reference, sections of my text were removed using the pathfinder tool as shown above. To do this, the type-face was converted into an outline using ‘type’ -> ‘create outlines’ in the menu bar, which provided structure in the form of path vectors and modifiable anchor points.

I then created a shape outline for the sections I wished to remove, before applying the pathfinder ‘minus front’ option, to create the above effect.

The letter ‘F’ above was subjected to specific alterations offered by Adobe Illustrator, to explore how typographic form can be altered and personalised. Each of these alterations are achieved through rectifying the anchor points of the letters outline. The two left examples display how points can be removed completely or replaced with a curved edge, while the two right examples show how wight and general proportions can be increased/ reduced. Inspiring future typographic work, this Illustrator workshop has provided motivation and excitement with regards to future work, as I have learnt a lot here that I did not know how to achieve before.

To reiterate knowledge and technique of using the pathfinder tool, the above was transcribed in order to apply our learning, using an element which is a more complex shape. This effect would be useful for elements such as logos. The pen tool also useful here, where you can trace the edges of the object as intended. This can improve image quality and general clarity.

 

Clipping layers using the masking tool:

Here we used the source image as reference, and applied a similar concept to our own typography. This tool was accessed from the menu ‘object’ -> ‘clipping mask’ -> ‘make’. This frames the content as only the proportion that is inside the clipped region/ shape. This can have a nice effect, again applying a more personal aesthetic to the visual.

Images/ textures can be refined to letter-forms through application of the same method (using clipping masks) to create a multi-layered image approach. This provides texture, matching intended ideology with visual content. Framing content through letters often provides a sense of depth, as well as implementing illustrated meaning of any specific word. The letter B was constructed through clipping geometric shapes with the outline of the letter, producing a technique commonly seen and used in the design industry.

Again, these outcomes remain in the software as vector forms, limiting any reduction of image quality. This means they can be altered and rescaled without losing any definition.

Image trace: This is a tool offered by indesign which automatically reduces an image to its more simplistic form. It maps the outline of the image’s content, constructing a series of paths/ anchor points. This then allows for modifications such as realignment and restructured visual placement. Examples of the use of this technique are shown above, where I altered the path form of the ‘f’ shape to reduce over complication. I implemented a solid colour inside the typography, before clipping such to produce a typographic vector.

The outcome of this small study; I combined new knowledge of the image trace, pathfinder and clipping mask tools to produce this modified text. I applied colours reminiscent directly to the word’s meaning, heightening visual links between type and subject. The lucid colour scheme represents sand and water, with a tropical vibrance represented by the lucid blue pigment.

The final stage of this workshop, we learned how to use the warp tool, and applied such to typographic content. we warped on a curve, using the ‘upper arc’, reduced to give a delicate curve, and also warp on a path to flow around a shape. A circle was used, and the typography aligned on the path of such. This creates an icon which could be used for a logo/ branding element. These findings will aid my ability when developing/ designing branded imagery/ elements through my graphic design.

Putting my skills to practice:

 

Here, I used the skills I learnt during this workshop to create a new vegetable component for the above piece of graphic design. In specific, the pen tool, shape tool, gradient tool, and the use of vectors/layers were utilised, enabling for a vegetable character to be created to match the general styles of the other vegetables.