Adobe Illustrator is 2D vector-based drawing program which has three primary functions. Firstly, it can be used to create graphics for print, such as logos, illustrations and diagrams. Secondly, it can help you build web graphics: buttons, icons; even entire web page designs. As well as drawing, Illustrator can also become a desktop publishing environment where you can create single page layouts such as posters, fliers, book jackets, DVD CD covers, etc.
We often find that delegates attending our Adobe Illustrator training courses have difficulty in getting to grips with the program, finding applications for it and incorporating it into their workflows. One of the main reasons for this is what we sometimes refer to as "Blank Canvas Syndrome". The thing is: at first glance, Adobe Illustrator often seems a lot less enticing and inviting than, say, Photoshop. To many new users, Photoshop is like a big city with bright lights and lots of exciting things to do and places to go. By contrast, Illustrator can seem like a wasteland; there's just nothing there when you create a new document; it's up to you to create everything from scratch.
As Illustrator trainers, we take on board the fact that running an Illustrator training course involves more than just tuition of the use to tools and techniques. To get delegates feeling enthusiastic about using the program, we also need to rid them of their fear of the stark blank canvas facing them every time they create a new file. We have identified four main techniques for ridding new users of "Blank Canvas Syndrome". Firstly, it is important to clearly identify the type of artwork you want Illustrator to create for you. Secondly, use Illustrator's Live Trace facility to create vector elements which can become a starting point for your own artwork. Thirdly, use background images as guides as you create your own drawings. And, fourthly, copy, reuse and modify elements that already exist within your own drawings.
Getting started with Illustrator becomes a lot easier once you have a clear idea of what type of artwork you need to produce. When often run courses for companies who will be using Illustrator in a very specific way, such as fashion companies, architects or cartographers. This type of training tends to be very successful because it's just a case of showing people which tools and techniques they need to use to create the necessary output.
For those users who are not using the program in a very pointed fashion, we always try to emphasise that creating Illustrator artwork doesn't have to mean originating every single stroke from scratch. We show users how they can use imported graphics as a starting point for their own artwork. For example, keeping scanned images on a background layer and drawing over them using the pen tool or converting bitmapped images into vectors with Illustrator's Live Trace utility.
Illustrator's Live Trace utility was developed from a standalone program called Adobe Streamline and is extremely powerful. It can be used to convert any scanned or bitmapped image into a vector. Naturally, the nature of the resulting vector image depends on the original. However, it's very fast and the results can be extremely impressive; so it's always worth trying it out if your feel that it may create something you can clean up and use.
Scanned or other images can also be placed on a background layer and used to provide constant points of reference when originating new Illustrator artwork. Background images can help to ensure that elements within the Illustrator artwork you create are of the correct dimensions have the correct relative proportions and so forth. For example, if you are drawing human figures, placing a photo of some people on a background layer can help to ensure that you don't end up creating figures with disproportionately large heads or long arms.
Another trick we always point out to delegates attending our Illustrator training courses is the ease with which you can create elements which are variations on existing elements within your drawing. Illustrator has powerful techniques for creating transformed copies of an object. It also allows you to place multiple strokes and fills on an object and to apply effects to each of them. Thus, for example if you need to create four concentric circles, you can just create one circle and give it four strokes, using the Offset Path command to position each of them.
The bottom line is that Illustrator's blank canvas doesn't have to stay blank for very long. You just need to formulate a clear idea of what you want to achieve with the program. Wherever possible, find images which you can either trace or use as reference points as you originate your own artwork. And, when creating new elements always ask yourself: "Can I base these new elements on items that already exist within the drawing?" If you use these simple techniques, then Blank Canvas Syndrome will never become a huge affliction for you. - 32521
We often find that delegates attending our Adobe Illustrator training courses have difficulty in getting to grips with the program, finding applications for it and incorporating it into their workflows. One of the main reasons for this is what we sometimes refer to as "Blank Canvas Syndrome". The thing is: at first glance, Adobe Illustrator often seems a lot less enticing and inviting than, say, Photoshop. To many new users, Photoshop is like a big city with bright lights and lots of exciting things to do and places to go. By contrast, Illustrator can seem like a wasteland; there's just nothing there when you create a new document; it's up to you to create everything from scratch.
As Illustrator trainers, we take on board the fact that running an Illustrator training course involves more than just tuition of the use to tools and techniques. To get delegates feeling enthusiastic about using the program, we also need to rid them of their fear of the stark blank canvas facing them every time they create a new file. We have identified four main techniques for ridding new users of "Blank Canvas Syndrome". Firstly, it is important to clearly identify the type of artwork you want Illustrator to create for you. Secondly, use Illustrator's Live Trace facility to create vector elements which can become a starting point for your own artwork. Thirdly, use background images as guides as you create your own drawings. And, fourthly, copy, reuse and modify elements that already exist within your own drawings.
Getting started with Illustrator becomes a lot easier once you have a clear idea of what type of artwork you need to produce. When often run courses for companies who will be using Illustrator in a very specific way, such as fashion companies, architects or cartographers. This type of training tends to be very successful because it's just a case of showing people which tools and techniques they need to use to create the necessary output.
For those users who are not using the program in a very pointed fashion, we always try to emphasise that creating Illustrator artwork doesn't have to mean originating every single stroke from scratch. We show users how they can use imported graphics as a starting point for their own artwork. For example, keeping scanned images on a background layer and drawing over them using the pen tool or converting bitmapped images into vectors with Illustrator's Live Trace utility.
Illustrator's Live Trace utility was developed from a standalone program called Adobe Streamline and is extremely powerful. It can be used to convert any scanned or bitmapped image into a vector. Naturally, the nature of the resulting vector image depends on the original. However, it's very fast and the results can be extremely impressive; so it's always worth trying it out if your feel that it may create something you can clean up and use.
Scanned or other images can also be placed on a background layer and used to provide constant points of reference when originating new Illustrator artwork. Background images can help to ensure that elements within the Illustrator artwork you create are of the correct dimensions have the correct relative proportions and so forth. For example, if you are drawing human figures, placing a photo of some people on a background layer can help to ensure that you don't end up creating figures with disproportionately large heads or long arms.
Another trick we always point out to delegates attending our Illustrator training courses is the ease with which you can create elements which are variations on existing elements within your drawing. Illustrator has powerful techniques for creating transformed copies of an object. It also allows you to place multiple strokes and fills on an object and to apply effects to each of them. Thus, for example if you need to create four concentric circles, you can just create one circle and give it four strokes, using the Offset Path command to position each of them.
The bottom line is that Illustrator's blank canvas doesn't have to stay blank for very long. You just need to formulate a clear idea of what you want to achieve with the program. Wherever possible, find images which you can either trace or use as reference points as you originate your own artwork. And, when creating new elements always ask yourself: "Can I base these new elements on items that already exist within the drawing?" If you use these simple techniques, then Blank Canvas Syndrome will never become a huge affliction for you. - 32521
About the Author:
The writer of this article is a developer and trainer with Macresource Computer Solutions, a UK IT training company offering Adobe Illustrator Classes in London and throughout the UK.
