Archive for September, 2011

Introducing The Smashing WordPress Section





 



 


In recent years, it seems WordPress has been growing at an exponential rate. It’s also become a much better piece of software, almost becoming a transparent experience to the user, who can set up a beautiful, fully functional site or CMS in minutes. There are many user-focused sites that will help with the basics, but as you get further into WordPress, the list of reliable resources on more advanced topics grows thin. This presents an opportunity…

WordPress

These days, cutting through the noise to find the quality content is a full-time job. Most of us are already working non-stop, so taking time to keep up on the ever-changing world of WordPress can be a challenge. I’ve spent countless hours searching through blog posts and forum threads looking for reliable, in-depth information on things like custom fields, image attachments, and post types. You know, those slices of WordPress wisdom that really provide some real-world, useful information.

WordPress: Then & Now

One of the strengths of WordPress is its very active development. Along with new features and goodies, each WordPress update aims to tighten security, optimize code, and squash bugs. There have been many updates since I first started using the platform back in 2005, and there have been some major steps along the way. For those of you who may be new to WordPress, here’s a snapshot comparing features then & now:

Feature Old way of doing it (WP versions 1 & 2) New way of doing it (WP version 3 +)
Updating the WordPress core Download latest version, put up a maintenance page, remove old files, upload new files, remove maintenance page Enter FTP info, click a button
Updating WordPress plugins and themes Same thing: download new files, remove old files, manual upload Enter FTP info, click a button
Tagging articles Install and configure a plugin or two Built-in functionality in the WP Admin
Replying to comments Visit the actual comment thread to reply to comments Respond to comments directly from the WP Admin
Saving revisions As often as you could remember, select/copy all text, and paste into a text file and archive locally Nothing. WP automatically keeps revisions of your work
Editing images Open 3rd-party photo editor, make changes, save & upload file to WordPress Log in and edit images directly in the WP Admin
Custom post types Required all sorts of theme hacking Add a line to functions.php
Post thumbnails Custom fields to the rescue Built-in functionality using simple code snippets and template tags
Multiple WP sites with a single install Install and configure WP MU Install and configure WordPress

And that’s just the tip of the iceberg – these are primarily functional improvements. Everything else about WordPress – performance, aesthetics, usability, and so on – continues to evolve and improve just as quickly.

Changing the Game

With WordPress’ phenomenal growth, we’ve seen an explosion in the amount of WordPress-related content available on the Web. There are plenty of beginner tutorials, round-up posts, and code snippets, but few good places to go for more advanced, in-depth content. With the new Smashing WordPress section, we’re aiming for quality articles on intermediate-level topics, with an emphasis on developing smarter, faster sites with the world’s most popular publishing platform.

We’ve been gathering a solid team of authors to share their techniques and experience as WordPress designers, developers, and users. We’ve got some incredible content on the way, with plenty of topics and ideas to explore as WordPress continues to evolve. By focusing on quality content and sharing real, hands-on experience, we’ve an opportunity to educate, inform, and help the community grow with WordPress.

The new WP section of Smashing Magazine will be covering many aspects of WordPress, at a deeper level, and geared toward a more intermediate audience. If you’re new to WordPress, that’s fine too – we’ve got a series of tutorials lined up that will get you up to speed on techniques we’ll be exploring in future articles.

It’s all about you! Let us know what you think – your comments and ideas inspire us to excel and improve this amazing thing that is Smashing Magazine. If you want to be on our growing team of authors and contribute to Smashing WordPress, contact us.

Welcome to the new WordPress section of Smashing Magazine!

About Our New Editor: Jeff Starr

[ Jeff Starr ]

Jeff has been developing and designing websites for over a decade, specializing in WordPress since 2005. He is the co-author of Digging into WordPress, and shares WordPress tips and techniques at Perishable Press, Digging into WordPress, and elsewhere. Over the years, he’s helped many people with WordPress and web development, and continues to serve the community at Monzilla Media.

Jeff’s recent work features a video/screencast series on Developing Secure WordPress Sites at Lynda.com, and exclusive WordPress articles in .net magazine.


© Jeff Starr for Smashing Magazine, 2011.


CSS3 Flexible Box Layout Explained





 



 


The flexible box layout module — or “flexbox,� to use its popular nickname — is an interesting part of the W3C Working Draft. The flexbox specification is still a draft and subject to change, so keep your eyes on the W3C, but it is part of a new arsenal of properties that will revolutionize how we lay out pages. At least it will be when cross-browser support catches up.

In the meantime, we can experiment with flexbox and even use it on production websites where fallbacks will still render the page correctly. It may be a little while until we consider it as mainstream as, say, border-radius, but our job is to investigate new technologies and use them where possible. That said, when it comes to something as fundamental as page layout, we need to tread carefully.

The Display Property

So what is flexbox, and why was it created? First, let’s look at how we currently lay out pages and some of the problems with that model.

Until last year, most of us were using tables to lay out our pages. Okay, maybe not last year! But I suspect that many of you reading this have been guilty of relying on tables at some point in your career. At the same time, it actually made a lot of sense. And let’s face it: it worked… to a point. However, we all then faced the reality that tables were semantically dubious and incredibly inflexible. And through the haze of this mark-up hangover, we caught a glimpse of the future: the CSS box model. Hurray!

The CSS box model allowed us to tell the browser how to display a piece of content, and in particular how to display it as a box. We floated left and right, we tried to understand what inline-block meant, and we read countless articles about clearfix, before just copying and pasting the clearfix hack-du-jour into our CSS.

For those of us testing our websites back to IE6, we had to grapple with hasLayout and triggering it with the following or some similar fix:

* html #element {
height: 1%;
}

The box model worked, and in most cases it worked well. But as the Web entered its teenage years, it demanded more complex ways of laying out content and — thanks to a certain Mr. Ethan Marcotte — of responding to the size of the browser and/or device.

Percentage + Padding + Border = Trouble

Here’s another problem with the current box model: absolute values for padding, margin and border all affect the width of a box. Take the following:

#element {
width: 50%;
border 1px solid #000;
padding: 0 5px;
}

This will not give us a box that is 50% of its parent. It will actually render an element that is 50% of the parent’s width plus 12 pixels (2-pixel border + 10-pixel padding). You could set the padding as a percentage value (although not for input elements in Firefox!), but adding percentage values of widths to the pixel values of borders can cause mathematical problems.

There are two ways to fix this problem. The first is to use the new CSS3 box-sizing property, and setting it to border-box:

#element {
box-sizing: border-box;
width: 50%;
border 1px solid #000;
padding: 0 5px;
}

This new CSS3 panacea effectively tells the browser to render the element at the specified width, including the border width and padding.

The second way to fix this problem is to use flexbox.

Many Problems, Many Solutions

The W3C responded with a suite of answers: the flexible box model, columns, templates, positioned floats and the grid. Adobe added regions to the mix, but they are not yet supported by any browser.

The display property already has no less than a staggering 16 values: inline, block, list-item, inline-block, table, inline-table, table-row-group, table-header-group, table-footer-group, table-row, table-column-group, table-column, table-cell, table-caption, none and inherit.

And now we can add a 17th: box.

Living In A Box

Let’s take a look at flexbox, which brings with it a brand new value for the display property (box) and no less than 8 new properties. Here’s how the W3C defines the new module:

In this new box model, the children of a box are laid out either horizontally or vertically, and unused space can be assigned to a particular child or distributed among the children by assignment of flex to the children that should expand. Nesting of these boxes (horizontal inside vertical, or vertical inside horizontal) can be used to build layouts in two dimensions.

Sounds exciting! The Working Draft expands on this a little:

Flexbox… lacks many of the more complex text or document-formatting properties that can be used in block layout, such as “float� and “columns,� but in return it gains more simple and powerful tools for aligning its contents in ways that Web apps and complex Web pages often need.

Now this is beginning to sound interesting. The flexbox model picks up where the box model leaves off, and the W3C reveals its motivation by noting that “Web apps and complex Web pages� need a better layout model. Here’s a list of the new flexbox properties:

  • box-orient,
  • box-pack,
  • box-align,
  • box-flex,
  • box-flex-group,
  • box-ordinal-group,
  • box-direction,
  • box-lines.

For the sake of brevity, I will use only the official spec’s properties and values, but do remember to add the vendor prefixes to your work. (See the section on “Vendor Prefixes and Cross-Browser Support� below.)

You might also want to check out Prefixr from Jeffrey Way, which can help generate some of the CSS for you. However, I found that it incorrectly generated the display: box property, so check all of its code.

Everything Will Change

If you take the time to read or even browse the latest Working Draft (from 22 March 2011), you’ll notice a lot of red ink, and with good reason. This spec has issues and is still changing; we are in unchartered waters.

It’s worth noting that the syntax used in this article, and by all current browsers, is already out of date. The Working Draft has undergone changes to much of the syntax used in the flexbox model. For example:

display: box;

This will become:

display: flexbox;

Other changes include some properties being split (box-flex will become flex-grow and flex-shrink), while others will be combined (box-orient and box-direction will become flex-direction). Indeed, anything that starts box- will be changed to flex-. So, keep your eyes on the spec and on browser implementations. (CanIUse helps, but it doesn’t cover all of the properties.)

PaRappa the Wrapper

Using flexbox often requires an extra div or two, because the parent of any flexbox element needs to have display set to box. Before, you could get away with the following:

<div style="float: left; width: 250px;"> Content here </div>
<div style="float: right; width: 250px;"> Content here </div>

Now with flexbox, you’ll need:

<div style="display: box">
  <div style="width: 250px"> Content here </div>
  <div style="width: 250px"> Content here </div>
</div>

Many of you have already turned away, insulted by this extra mark-up that is purely for presentation. That’s understandable. But here’s the thing: once you master the CSS, this extra containing div becomes a small price to pay. Indeed, you’ll often already have a containing element (not necessarily a div) to add display: box to, so there won’t be a trade-off at all.

On a broader note, sometimes you need presentational mark-up. It’s just the way it goes. I’ve found that, particularly when working on cross-browser support for a page, I have to add presentational mark-up for browsers such as IE6. I’m not saying to contract “div-itis,� but because we all use HTML5 elements in our mark-up, we find that sections often need div containers. That’s fine, as long as it’s kept to a minimum.

With this in mind, let’s get busy with some code. I’ve put together a demo page, and you can download all of the source files.

screenshot

Over the next few paragraphs, we’ll use the new flexbox model to create a basic home page for a blog. You might want to launch a latest-generation browser, though, because we’re now coding at the cutting edge. And it’s an exciting place to be.

box-flex

Let’s start with the basics: box-flex. Without box-flex, very little can be achieved. Simply put, it tells the browser how to resize an element when the element is too big or small for its parent.

Consider the following classic problem. You have a container with three children that you want to position side by side. In other words, you float them left. If the total width of these boxes is wider than that of the parent — perhaps because of padding, margin or a border — then you need to either specify exact widths in pixels (which is not flexible) or work in percentages (and the sometimes mind-bending calculations that come with them!).

Here’s the problem we have on our Fruit Blog, with three 320-pixel-wide asides (plus padding and margin) inside a 920-pixel-wide container:

screenshot

As you can see, the content is wider than the parent. However, if we set set the parent to display: box and each of these asides to box-flex: 1, then the browser takes care of the math and renders the following:

screenshot

So, what exactly has happened here?

The box-flex property refers to how the browser will treat the width of the box — or, more specifically, the unused space (even if that space is negative — i.e. even if the rendered boxes are too big for the container) — after the box has rendered. The value (1 in our example) is the ratio. So, with each aside set to a ratio of 1, each box is scaled in exactly the same way.

In the first instance, each aside was 320 pixels + 20 pixels of padding on the left and right. This gave us a total width of 360 pixels; and for three asides, the width was 1080 pixels. This is 160 pixels wider than the parent container.

Telling the browser that each box is flexible (with box-flex) will make it shrink the width of each box — i.e. it will not change the padding. This calculation is a fairly easy one:

160 pixels ÷ 3 asides = 53.333 pixels to be taken off each aside.

320 pixels − 53.333 = 266.667 pixels

And, if we look in Chrome Developer tools, we will see this is exactly how wide the box now is (rounded up to the nearest decimal):

screenshot

The same would be true if each aside had a width of 100 pixels. The browser would expand each element until it filled the unused space, which again would result in each aside having a width of 266.667 pixels.

This is invaluable for flexible layouts, Because it means that your padding, margin and border values will always be honored; the browser will simply change the width of the elements until they fit the parent. If the parent changes in size, so will the flexible boxes within it.

Of course, you can set box-flex to a different number on each element, thus creating different ratios. Let’s say you have three elements side by side, each 100 pixels wide, with 20 pixels padding, inside a 920-pixel container. It looks something like this:

screenshot

Now, let’s set the box-flex ratios:

.box1 { box-flex: 2; }
.box2 { box-flex: 1; }
.box3 { box-flex: 1; }

Here’s what it looks like:

screenshot

What just happened?!

Well, each aside started off as 140-pixels wide (100 pixels + 40 pixels padding), or 420 pixels in total. This means that 500 pixels were left to fill once we’d made them flexible boxes.

However, rather than split the 500 pixels three ways, we told the browser to assign the first aside with a box-flex of 2. This would grow it by 2 pixels for every 1 pixel that the other two boxes grow, until the parent is full.

Perhaps the best way to think of this is that our ratio is 2:1:1. So, the first element will take up 2/4 of the unused space, while the other two elements will take up 1/4 of the unused space (2/4 + 1/4 + 1/4 = 1).

2/4 of 500 pixels is 250, and 1/4 is 125 pixels. The final widths, therefore, end up as:

.box1 = 350px (100px + 250px) + 40px padding
.box2 = 225px (100px + 125px) + 40px padding
.box3 = 225px (100px + 125px) + 40px padding

Add all of these values up and you reach the magic number of 920 pixels, the width of our parent.

An important distinction to make is that the ratio refers to how the additional pixels (or unused space) are calculated, not the widths of the boxes themselves. This is why the widths are 350:225:225 pixels, and not 460:230:230 pixels.

The wonderful thing about the flexbox model is that you don’t have to remember — or even particularly understand — much of the math. While the Working Draft goes into detail on the calculation and distribution of free space, you can work safe in the knowledge that the browser will take care of this for you.

Animating Flexible Boxes

A simple and elegant effect is already at your fingertips. By making the li elements in a navigation bar flexible, and specifying their width on :hover, you can create a nice effect whereby the highlighted li element expands and all the other elements shrink. Here’s the CSS for that:

nav ul {
display: box;
width: 880px;
}

nav ul li {
padding: 2px 5px;
box-flex: 1;
-webkit-transition: width 0.5s ease-out;
min-width: 100px;
}

nav ul li:hover {
width: 200px;
}

screenshot

You’ll spot a min-width on the li element, which is used to fix a display bug in Chrome.

Equal-Height Columns: The Happy Accident!

As we’ll see, all flexbox elements inherit a default value of box-align: stretch. This means they will all stretch to fill their container.

For example, two flexbox columns in a parent with display: box will always be the same height. This has been the subject of CSS and JavaScript hacks for years now.

There are a number of practical implementations of this fortunate outcome, not the least of which is that sidebars can be made the same height as the main content. Now, a border-left on a right-hand sidebar will stretch the full length of the content. Happy days!

box-orient and box-direction

The box-orient property defines how boxes align within their parent. The default state is horizontal or, more specifically, inline-axis, which is horizontal and left-to-right in most Western cultures. Likewise, vertical is the same as block-axis. This will make sense if you think about how the browser lays out inline and block elements.

You can change the box-orient value to vertical to make boxes stack on top of each other. This is what we’ll do with the featured articles on our fruit blog.

Here is what our articles look like with box-orient set to its default setting:

screenshot

Ouch! As you can see, the articles are stacking next to each other and so run off the side of the page. It also means that they sit on top of the sidebar. But by quickly setting the parent div to box-orient: vertical, the result is instant:

screenshot

A related property is box-direction, which specifies the direction in which the boxes are displayed. The default value is normal, which means the boxes will display as they appear in the code. But if you change this value to reverse, it will reverse the order, and so the last element in the code will appear first, and the first last.

While box-orient and box-direction are essential parts of the model, they will not likely appear in the final specification, because they are being merged into the flex-direction property, which will take the following values: lr, rl, tb, bt, inline, inline-reverse, block and block-reverse. Most of these are self-explanatory, but as yet they don’t work in any browser.

box-ordinal-group

Control over the order in which boxes are displayed does not stop at normal and reverse. You can specify the exact order in which each box is placed.

The value of box-ordinal-group is set as a positive integer. The lower the number (1 being the lowest), the higher the layout priority. So, an element with box-ordinal-group: 1 will be rendered before one with box-ordinal-group: 2. If elements share the same box-ordinal-group, then they will be rendered in the order that they appear in the HTML.

Let’s apply this to a classic blog scenario: the sticky post (i.e. content that you want to keep at the top of the page). Now we can tag sticky posts with a box-ordinal-group value of 1 and all other posts with a box-ordinal-group of 2 or lower. It might look something like this:

article {
box-ordinal-group: 2;
}

article.sticky {
box-ordinal-group: 1;
}

So, any article with class="sticky" is moved to the top of the list, without the need for any front-end or back-end jiggering. That’s pretty impressive and incredibly useful.

We’ve used this code in our example to stick a recent blog post to the top of the home page:

screenshot

box-pack and box-align

The box-pack and box-align properties help us position boxes on the page.

The default value for box-align is stretch, and this is what we’ve been using implicitly so far. The stretch value stretches the box to fit the container (together with any other siblings that are flexible boxes), and this is the behavior we’ve seen so far. But we can also set box-align to center and, depending on the box-orient value, the element will be centered either vertically or horizontally.

For example, if a parent inherits the default box-align value of horizontal (inline-axis), then any element with box-align set to center will be centered vertically.

We can use this in our blog example to vertically center the search box in the header. Here’s the mark-up:

<header>
  <form id="search">
    <label for="searchterm">Search</label>
    <input type="search" placeholder="What’s your favourite fruit…" name="searchterm" />
    <button type="submit">Search!</button>
  </form>
</header>

And to vertically center the search box, we need just one line of CSS:

header {
display: box; box-align: center;
}

header #search {
display: box; box-flex: 1;
}

The height of #search has not been set and so depends on the element’s content. But no matter what the height of #search, it will always be vertically centered within the header. No more CSS hacks for you!

screenshot

The other three properties of box-align are start, end and baseline.

When box-orient is set to horizontal (inline-axis), an element with box-align set to start will appear on the left, and one with box-align set to end will appear on the right. Likewise, when box-orient is set to vertical (block-axis), an element with box-align set to start will appear at the top, and one with box-align set to end will move to the bottom. However, box-direction: reverse will flip all of these rules on their head, so be warned!

Finally, we have baseline, which is best explained by the specification:

Align all flexbox items so that their baselines line up, then distribute free space above and below the content. This only has an effect on flexbox items with a horizontal baseline in a horizontal flexbox, or flexbox items with a vertical baseline in a vertical flexbox. Otherwise, alignment for that flexbox item proceeds as if flex-align: auto had been specified.

Another property helps us with alignment: box-pack. This enables us to align elements on the axis that is perpendicular to the axis they are laid out on. So, as in the search-bar example, we have vertically aligned objects whose parent have box-orient set to horizontal.

But what if we want to horizontally center a box that is already horizontally positioned? For this tricky task, we need box-pack.

If you look at the navigation on our fruit blog, you’ll see that it’s only 880 pixels wide, and so it naturally starts at the left of the container.

screenshot

We can reposition this ul by applying box-pack to its parent. If we apply box-pack: center to the navigation element, then the navigation moves nicely to the center of the container.

screenshot

This behaves much like margin: 0 auto. But with the margin trick, you must specify an explicit width for the element. Also, we can do more than just center the navigation with box-pack. There are three other values: start, end and justify. The start and end values do what they do for box-align. But justify is slightly different.

The justify value acts the same as start if there is only one element. But if there is more than one element, then it does the following:

  • It adds no additional space in front of the first element,
  • It adds no additional space after the last element,
  • It divides the remaining space between each element evenly.

box-flex-group and box-lines

The final two properties have limited and/or no support in browsers, but they are worth mentioning for the sake of thoroughness.

Perhaps the least helpful is box-flex-group, which allows you to specify the priority in which boxes are resized. The lower the value (as a positive integer), the higher the priority. But I have yet to see an implementation of this that is either useful or functional. If you know different, please say so in the comments.

On the other hand, box-lines is a bit more practical, if still a little experimental. By default, box-lines is set to single, which means that all of your boxes will be forced onto one row of the layout (or onto one column, depending on the box-orient value). But if you change it to box-lines: multiple whenever a box is wider or taller than its parent, then any subsequent boxes will be moved to a new row or column.

Vendor Prefixes and Cross-Browser Support

It will come as no surprise to you that Internet Explorer does not (yet) support the flexbox model. Here’s how CanIUse sees the current browser landscape for flexbox:

screenshot

The good news is that Internet Explorer 10 is coming to the party. Download the platform preview, and then check out some interesting examples.

Also, we need to add a bunch of vendor prefixes to guarantee the widest possible support among other “modern� browsers. In a perfect world, we could rely on the following:

#parent {
display: box;
}

#child {
flex-box: 1;
}

But in the real world, we need to be more explicit:

#parent {
display: -webkit-box;
display: -moz-box;
display: -o-box;
display: box;
}

#child {
-webkit-flex-box: 1;
-moz-flex-box: 1;
-o-flex-box: 1;
flex-box: 1;
}

Helper Classes

A shortcut to all of these vendor prefixes — and any page that relies on the flexbox model will have many of them — is to use helper classes. I’ve included them in the source code that accompanies this article. Here’s an example:

.box {
display: -webkit-box;
display: -moz-box;
display: -o-box;
display: box;
}

.flex1 {
-webkit-flex-box: 1;
-moz-flex-box: 1;
-o-flex-box: 1;
flex-box: 1;
}

.flex2 {
-webkit-flex-box: 2;
-moz-flex-box: 2;
-o-flex-box: 2;
flex-box: 2;
}

This allows us to use this simple HTML:

<div class='box'>
  <div class='flex2' id="main">
   <!-- Content here -->
 </div>
  <div class="flex1" id="side�>
    <!-- Content here -->
  </div>
</div>

Using non-semantic helper classes is considered bad practice by many; but with so many vendor prefixes, the shortcut can probably be forgiven. You might also consider using a “mixin� with Sass or Less, which will do the same job. This is something that Twitter sanctions in its preboot.less file.

Flexie.js

For those of you who want to start experimenting with flexbox now but are worried about IE support, a JavaScript polyfill is available to help you out.

Flexie.js, by Richard Herrera, is a plug-and-play file that you simply need to include in your HTML (download it on GitHub). It will then search through your CSS files and make the necessary adjustments for IE — no small feat given that it is remapping much of the layout mark-up on the page.

screenshot

A Word on Firefox

The flexbox model was, at least originally, based on a syntax that Mozilla used in its products. That syntax, called XUL, is a mark-up language designed for user interfaces.

The irony here is that Firefox is still catching up, and its rendering of some flexbox properties can be buggy. Below are some issues to watch out for, which future releases of Firefox will fix. Credit here must go to the uber-smart Peter Gasston and Oli Studholme, giants on whose shoulders I stand.

  • Flexbox ignores overflow: hidden and expands the flexbox child when the content is larger than the child’s width.
  • The setting display: box is treated as display: inline-box if there is no width.
  • The outline on flexbox children is padded as if by a transparent border of the same width.
  • The setting box-align: justify does not work in Firefox.
  • If you set box-flex to 0, Firefox forces the element to act like it’s using the quirks-mode box model.

Summary

The flexbox model is another exciting development in the CSS3 specification, but the technology is still very much cutting-edge. With buggy support in Firefox and no support in Internet Explorer until version 10 moves beyond the platform preview, it is perhaps of limited use in the mainstream.

Nevertheless, the spec is still a working document. So, by experimenting with these new techniques now, you can actively contribute to its development.

It’s hard to recommend the flexbox model for production websites, but envelopes need pushing, and it might well be the perfect way to lay out a new experimental website or idea that you’ve been working on.

Offering a range of new features that help us break free of the float, the flexbox model is another step forward for the layout of modern Web pages and applications. It will be interesting to see how the specification develops and what other delights for laying out pages await the Web design community in the near future.

Further Reading

From floats to flexbox, here’s everything else you need to know:

Special thanks to Tim Davey for the artwork.

(al)


© Richard Shepherd for Smashing Magazine, 2011.


Magnifying Glass Tutorial for Adobe Illustrator


  

In this tutorial we will be learning how to create a Magnifying glass in perspective in Adobe Illustrator. When it comes to creating semi-realistic vector illustrations the most important items are to find the easiest way to create them, make sure to create reliability and to try to keep from creating objects with too many anchor points in order to avoid an obstacle in the printing process.

In this tutorial we wont use some of the amazing Illustrator features within the 3D Effect. Using them would make the creation process much easier for sure, but on the other hand there are a few disadvantages we would like to avoid (creating numerous anchor points as previously mentioned). We will try to create a magnifying glass just with the Pen Tool (P) and a few ellipses. Some details will helps us to improve the illustration.

Let’s get down to business!

We will be creating this.

Creating the Head of the Magnifying Glass

Since we are creating a magnifying glass in perspective we will start with the ellipse. Grab the Ellipse Tool (L) and create the ellipse as it is shown in the picture below.

Grab the Selection Tool (V) and rotate this ellipse.

Duplicate (Ctrl / Cmd + C, Ctrl / Cmd + F) the ellipse and move the copy to the left.

With the Direct Selection Tool (A) select the anchor point on the right side. Hit the Delete key on the keyboard to remove it. Make sure to match end points of the curved path and the red ellipse.

Now we have to close the path. Select the Pen Tool (P) from the Tool Panel to close the path. Send the new shape behind the ellipse (Shift + Ctrl / Cmd + [).

Select the ellipse and under the Object select Path > Offset Path. Set the value for Offset to -5 pt.

Repeat the previous step and offset the smaller ellipse for another -5 pt. Grab the Selection Tool (V) and move the smallest ellipse to the left lower corner, as it shown on the picture below.

Applying a Color Gradients

Now, it is time to apply some nice color gradients. We have to simulate the look of the metal frame and the look of the magnifying glass. On the following pictures you can see the information about color gradients you can use.

As you can see, a nice color contrast has contributed to the semi-realistic look of the metal frame.

To make the illustration more authentic there is one thing we should not forget, the metal part of the framework that can be seen through the glass.

Duplicate (Ctrl / Cmd + C, Ctrl / Cmd + F) the glass twice and move one of the copies to the left. Select both ellipses and under the Pathfinder Panel hit the Minus Front button.

You should end up with the shape like this.

Apply a linear gradient as it shown on the picture below. The gradient we are using for this part is actually the same gradient we have used for the inner part of the frame. We have adjusted the colors inside the gradient by giving them a nice bluish tone.

Two highlighted edges will improve the illustration. Duplicate (Ctrl / Cmd + C, Ctrl / Cmd + F) the ellipse twice that represents the inner part of the metal frame. Move one of the copies to the left 1 pixel. Select both copies under the Pathfinder Panel hit the Minus Front button. Set the Fill color of the highlight to #FFFDE5.

We will create another highlight for the outer side of the metal frame.

Grab the Ellipse Tool (L) from the Tool Panel and create a small circle. Apply a radial white-transparent gradient.

Duplicate (Ctrl / Cmd + C, Ctrl / Cmd + F) the circle from the previous step and place it on the right part of the metal frame. It will emphasize the metal look of the frame a little bit.

Group (Ctrl / Cmd + G) all the elements.

Creating the Handle

Grab the Pen Tool (P) from the Tool Panel and create the shape of the handle.

Apply the linear gradient to the handle. Just make sure to create the highlight that will follow the shape of the handle.

Select the Pen Tool (P) from the Tool Panel and create two curved paths as it's shown on the picture below.

Select the handle and both paths and under the Pathfinder Panel hit the Divide button.

Apply the linear gradient, but make sure to create the same highlight we have created for the handle.

Use the same technique to create one more metal part of the handle.

And our magnifying glass is done. To make the illustration more interesting we will create a nice bit of additional text.

Creating Magnified Text

Let's try to create a magnification effect. You can do it with any shape you like, but we will do it with text.

Grab the Type Tool (T) from the Tool Panel and type a word (we've used Noupe). You can choose any Font you like.

We will have to edit the letters a little bit. To be able to do that we have to transform them into editable shapes. Under the right click menu select Create Outlines.

Duplicate (Ctrl / Cmd + C, Ctrl / Cmd + F) the letters and Ungroup the copy (Shift + Ctrl / Cmd + G). Remove N and O from the copied word. Change the Fill color of the original letters to green (just to be able to see what we are doing, later we will set the Fill color back to black).

Select all three black letters (u, p and e), scale them up a little bit and move them to the right.

Under the Object select Envelope Distort > Make with Warp.

The Warp Options box will pop up. Set the Style to Fisheye  and the value for Bend to 25%. Hit the OK button.

If you are not quite happy with the result you have achieved, feel free to grab the Direct Selection Tool (A) and to adjust some anchor points. Under the Object select Expand. This way we will turn the letters back into an editable shape.

Now we have to duplicate (Ctrl / Cmd + C, Ctrl / Cmd + F) the ellipse that represents the glass. Bring it to front (Shift + Ctrl / Cmd + ]) and remove the Stroke and Fill colors. Select the ellipse and U, P, E letters and under the Object select Clipping Mask > Make.

Ungroup (Shift + Ctrl / Cmd + G) the green letters and remove the p and e letters at the end of the word. Set the Fill color for the rest of the letters to black (#000000) and send them back (Shift + Ctrl / Cmd + [).

For the end duplicate (Ctrl / Cmd + C, Ctrl / Cmd + F) the black shape of the handle, apply a nice linear gradient (#FFFFFF to # BDBDBD) and place it as it shown in the picture below.

And our magnifying glass is done!

Conclusion

This tutorial can be a nice practice for creating objects in perspective. If you are unsure how to put all the elements together, feel free to use a reference image (tracing technique can help a lot in this situation). There is one more thing I would like to encourage you about. Take your time when you are applying color gradients. Instead of using Blending Modes and transparency try to simulate a certain look by using the right combination of colors and gradients (just like we did in this tutorial with the part of the metal frame seen through the glass).

If you have any comments or questions please post them in the comments section below. Really hope you like this tutorial. Thank you for following along.

(rb)


Types of Designers Not to Be!


  

Here we have somewhat of a cautionary tale for all of those in the field, to help guide us away from those behavioral models that we should all avoid. Well, that we should avoid if we do not wish to have the often negative connotations that are associated with these types of designers impacting our reputation as a member of the industry. Which might prove very difficult to shake off and recover from in the eyes of other members of the community.

Most of us have had, or have been, that friend warnings were issued about. The bad influence whose behaviors the older generation were so afraid others would begin to emulate, and then it would all be downhill from there. Well they are back! And here come the warnings to prevent as many of us in the design community as possible from following in their damaging footsteps. So take a look below at the breakdowns of those types of designers you should strive to not be, and see if you fit into any of the categories.

The Browse and Biter

First up we come to the nefarious Browse and Biter. This designer-type is characterized by their tendency to browse the web for ‘inspiration’, and they end up biting, borrowing, or simply flat out stealing the styles or designs that they see there. No matter how pure their intentions may be, this type of designer never learned the difference between being inspired by and, well, copying another’s work. Taking a look through their portfolios, one sees a lot of familiar looking or feeling works that they know they have seen somewhere before.

They see a design they like, and they just have to copy it. Image Credit

Tips to Avoid Being a Browse and Biter

These unfortunately unoriginal folks have a way of upsetting the understood natural order of things with their browse and bite ways, so it is best to learn where those lines are, and stay on the right side of them. Know where inspiration ends and your own voice and work begins. Know the difference between an homage and an ‘Oh, my god they ripped me off!’. Understand that if you admire someone and their work, the right way to honor them in your design is to use the way their work makes you feel and voice that through your work. Not duplicate what they have done. That tends to not be looked on as an honor. So be original, not a browse and biter.

The Stag

Next up, we have the Stag. This type of designer is mostly known for having a really specific style that never really grows or evolves. They just get to a point where they become satisfied with where they have gotten to, and they just stay there. Being stagnant. Soon all of their designs begin to feel stale, as no new ground is really ever broken in their work. And each ‘new’ piece that they craft feels very close to the last piece they just finished before it. And the one before that. And so on, ad nauseam. With this designer-type good becomes the enemy of great. They become satisfied with good and they never strive to be better. To be great.

Tips to Avoid Being a Stag

Now this is not to say that as a designer we should never be happy with the levels to which we have progressed. It is simply saying that we should always strive to be keep progressing. Growth is not a journey’s end, it is a never ending journey. A quest to always be learning more and evolving our skills. Nurturing them so they can rise to the next level and us along with them. And when we finish a design and begin a new one, we should always try to begin anew, as it were. To start fresh, and give each design a chance to be unique and not just a variation of our last piece.

The Boxer

Another designer-type to avoid becoming is the Boxer. These designers tend to be completely boxed in by the field, and for some unknown reason can not allow themselves to ever think outside the proverbial box. These incessant rule abiders become so caught up in the rules and principles of design that they never dare to break outside of or think beyond any of them. While Boxers may exhibit a technical proficiency, and their galleries may be full of precise, sharp designs, the work itself will have no heart. No daring. And as most of us in the field can attest, usually the pieces that have a lasting impact, tend to be those with heart.

For the boxer, everything makes sense in the ‘ring’, and they can’t bring themselves to step outside of it. Image Credit

Tips to Avoid Being a Boxer

While it is easy to see how a designer can become so enveloped in the basics and those standard design practices that they forget about actually ever trying to push any envelopes through their work, it can be overcome. Design is a dynamic and versatile field that is built on those rules, but they are meant to be more of a guide for us than an absolute. As long as we have an understanding of them, then we can try pushing beyond them every now and again to find our way to true innovation in our designs. Think of the box as our arrival packaging into the design world. Now that we are here, we are not going to stay in our original packaging. We are going to unpack the box and use those things inside the way we best see fit.

The Safe-Player

Not moving on very much, we come to the next designer-type you want to avoid becoming, and that is the Safe-Player. This is actually somewhat of a variation on the Boxer. These designers do want to push the envelopes, and take huge design leaps of faith, but alas, they are too scared, and as a result they reel it in and always end up playing it safe. When you look through their work, you get that comfortable safe feeling exuding from all of it. None of the designs feel like they dared into any new or unfamiliar territory. This often stems from the designers desire to not make any mistakes, so they opt for the safer route. Forgetting all the while, that we need to be making mistakes so we can learn and grow.

Tips to Avoid Being a Safe-Player

For the most part, the advice here follows in suit with the tips for avoiding the Boxer model. However, we should stress that if you want to cast off these Safe-Player shackles, then you really need to be comfortable taking risks in your designs. You cannot let fear of mistakes or failure keep you from trying something new. Not if you want to stand out from the masses.

The Offended Defender

Now we move into the next warning section, that of the Offended Defender. These designers are usually characterized by their offended defenses of their work against any criticisms. Even those that are intended to help the designer make improvements. And they may actually be a good designer by and large, but the fact of the matter is, that they could be great if only they knew how to take and use these critiques of their work. As you look through their gallery, you wonder why some of the works seem like they could benefit from some slight tweaking. You might even go so far as to send them a polite note suggesting one such tweak. That is when you learn why those designs are and will forever stay that way.

It does no good getting all offended and in someone’s face because they tried to help. Image Credit

Tips to Avoid Being an Offended Defender

The main thing that one can do to step out of this less than favorable light, is to learn how to take criticism without imploding or defensively clinging to the critiqued element and allowing the work to suffer due to some over-inflated sense of ego or pride. And that is unfortunately the way that some designers take it. Even in the harshest of critiques we can often find some useful tips or hints to take away. We just might have to dig down to find it. We also can not let someone else’s negative tone let us get defensive and tune out to what useful tidbits might be buried underneath it.

The Apt-less Pupil

Now we come to the Apt-less Pupil designer-type. Now here it is not that these designers are so much slow learners that makes them less than desirable to become, it is just that they never quite get there, but think that they have it. There is nothing wrong with being a slow learner, but clients and colleagues working with you on a project should not have to suffer through your learning curve. These designer-types also can reflect poorly on the industry overall, as they introduce a segment of the market who call themselves designers, and hire themselves out as designers, but they are not quite designers.

Tips to Avoid Being an Apt-less Pupil

Basically, learn the field before stepping onto it to play in a game. Plain and simple. Also, do not take a job that you are not yet fully qualified to be taking, and you will steer yourself clear of this label easily.

The Underwhelmer

Now we come to the next designer-type, the Underwhelmer. These not-so over-achievers are mostly recognized by their tendencies to effectively under-deliver for their clients. In fact, they even tend to talk a really good game, which makes them hard to recognize to most. But even though they themselves have set the bar of expectations they rarely, if ever, live up to their own hype. Where most designers will tell you that the secret to success is to always over-deliver for your clients, this flock tend to fall short of that mission statement.

We want to make the best of impressions all the way through the project, not completely drop the ball by under delivering on their expectations. Image Credit

Tips to Avoid Being an Underwhelmer

To keep from baring this brand, again you have to know your limits and not let yourself get in over your head. Whether it is by committing to a project that you do not have the design background or know-how to come through on. Or whether it is by taking on too many clients or projects so that you end up coming up short on one or more of them when the deadlines roll around. Make sure that you can stay ahead of your workload, and have enough skill to deliver on all of your promises, and you might be able to keep from falling into this category.

The Space Cowboy or Cowgirl

Moving on, we come to the Space Cowboy or Cowgirl types of designers. Sufficed to say, their heads are far beyond just being in the clouds, they have left our general atmosphere and are floating in space. These designers are typically characterized as promisers of the moon, without any consideration given to the coding that will have to breathe life into their designs. Also known as the Coder’s Nightmare. Most designers for the web understand that some level of coding background is necessary so they can proceed somewhat reasonably. The Space Cowboy or Cowgirl makes no such concession.

Tips to Avoid Being a Space Cowboy or Cowgirl

Basically, to keep from wearing this dreaded label you need to be informed. Come down from those heights and plant your feet on the ground for a spell. Walk a mile in a Coder’s shoes. Then give them their shoes back and work together to make the most of the design project. Be reasonable in your expectations from the coders, just as you would expect from your them, or as you would expect from your clients.

That’s All Folks

That pretty much wraps up the discussion. Well, from this end anyway, but things are far from over. Now it is up to you to take over and let us know your thoughts on the subject at hand. And remember, for any of those finding themselves fitting into one of these roles, acceptance is the first step on the road to recovery. What designer-types would you warn your kids not to grow up to become? Are there any additional tips you would offer any sufferers of these behaviors that were left out?

(rb)


An In-Depth Study Of Symbols In Illustrator CS5





 



 


For drawing and painting digital illustrations, Adobe Illustrator is a favorite among designers for many reasons. One of the reasons is some of the amazing time-saving features that come with it. The Symbols feature in Illustrator does just this: it saves valuable time by creating a “symbol,� or copy, of an object. This means that all of the time you have spent creating a minutely detailed flower does not have to be repeated. Instead, simply save the flower as a symbol for future use. Plus, symbols greatly reduce the size of image files.

Illustrator makes it easy to use symbols multiple times within a document as well. With the Symbols tools, you can add and alter several symbols at once. And in CS5, you can now change the settings for a symbol while editing. Another benefit of symbols in Illustrator CS5 is that you can change a symbol to a movie clip, making it easy to export to Adobe Flash. You can also make sure that the symbol scales correctly for your interface design by choosing 9-Slice Scaling while still in Illustrator.

CS5 makes working with symbols even easier by adding a few new features, explained below. If you are working in an earlier version of Illustrator, you will still be able to follow along and become as much a master of symbols in Illustrator as the next guy.

The topics covered in this article are:

  1. Basic Symbol Use
    • Symbols panel 101
    • Creating symbols
    • Symbol libraries
    • Placing symbols
    • Breaking links
    • Changing symbol options
    • Adding or duplicating symbols
    • Deleting symbols
    • Redefine a symbol
    • Swap/replace a symbol
  2. Advanced Symbol Use
    • Control window
    • Editing as a graphic
    • Registration point edits
    • 9-Slice Scaling edits
    • Sub-layer for symbols
  3. Symbolism Tools
    • Symbol sets
    • Symbol Sprayer tool
    • Symbol Shifter tool
    • Symbol Scruncher tool
    • Symbol Sizer tool
    • Symbol Spinner tool
    • Symbol Stainer tool
    • Symbol Screener tool
    • Symbol Styler tool
  4. Symbolism Tools Advanced Options
    • Options available to all symbol tools
    • Symbol Sprayer options
    • Symbol Sizer options
  5. Make Symbols Your Best Friend
    • More resources

Basic Symbol Use

Some of the actions for Symbols are quite easy to figure out just by playing around with them, while others take some explanation. Below is an overview of how to use symbols, but remember that you can move, scale, rotate, reflect and skew (shear) symbols just like other objects.

Symbols Panel 101

To open the Symbols panel, click on the button that looks like a clover, located in the menu on the right side of the Illustrator screen. Or go to WindowSymbols. As always the case with Adobe software, there are several ways to complete a task with Symbols.

The drop-down menu in the upper-right corner of the Symbols panel offers access to nearly every action for the panel, including creating a symbol, editing a symbol, breaking links, changing the view in the panel and more. To save you time, along the bottom of the Symbols panel are a few shortcuts to the most commons actions. You can also use the options in the Control window at the top of the screen.

To select a symbol in the panel, click on the icon. With a symbol selected, you can now edit it, place it on your artboard, delete it and more.

You can also organize the symbols in the panel by clicking and dragging them around. Or choose “Sort by Name� to change the view of the icons from within the drop-down menu.

Creating Symbols

Nearly any object can be made into a symbol. A couple of exceptions are art that is not linked and groups of graphics. Make sure the Symbols panel is open.

Click on the “New Symbols� icon (it looks like two white squares, one smaller than the other) at the bottom of the Symbols window, or drag an object directly into the Symbols panel. Illustrator will automatically turn the object you have selected into a symbol and also add the object to the Symbols window.

If you do not want your original object to become a symbol, then hold down Shift while creating the new symbol. This allows you to quickly create a symbol while retaining editable work on your artboard.

In the Symbols dialog box that appears, first specify a name, one that you will easily remember later.

Next, select the “Type� of symbol you want to create: a graphic or movie clip. If you will be using the symbol only in Illustrator, it does not matter which you select. The only reason why the two options are available is if you want to use the symbol in Adobe Flash: a movie-clip symbol in Flash can be manipulated for animation purposes, while a graphic symbol in Flash will remain static.

Symbol Libraries

The Symbol Libraries provide a clean way to organize the symbols that you acquire. To open them, click on the Symbols Library menu in the far left of your Symbols tools, or go to WindowSymbol Libraries[symbol]. The library that you select will open in a new window. When you choose a symbol from an open library, it is automatically added to the Symbols panel.

Remember that you can change the symbol once it is in your panel, but the original symbol in the library will never change.

Adding symbols from the panel to your library is easy but can be confusing at first. Begin by deleting any symbols that you do not want to add. (To quickly remove unused symbols, choose “Select All Unused� from the Symbols panel menu.) Then choose “Save Symbols� from the Symbols Library menu button, or go to the Symbols panel menu and select “Save Symbol Library.� Name your symbol library, and save it to the default Symbols folder. You can now find your new library folder in Symbols Library MenuUser Defined[symbol].

Note: You can create a new library from any symbols, whether default Illustrator symbols or your own. Just drag the desired symbols into the Symbols panel, and follow the steps above to create a new library.

Saving symbol libraries in locations other than the default library folder enables you to more easily share your created symbols with other designers. First, create your library as explained in the section above. When you get to the step where Illustrator asks you to choose a name and location for your library, choose a location other than the default folder (such as the desktop or “My Documents�). Remember that you can always access the symbols in this alternate location when working in Illustrator by choosing “Other Library� from the Symbols Library menu.

Placing Symbols

To place a symbol on your artboard, simply click on the icon in the panel and drag the symbol onto your board, or select the Symbol icon in the panel and then click the “Place Symbol Instance� button. Dragging the symbol is helpful if you have a specific place for it, whereas the “Place Symbol Instance� button works well when you want to place several on the board but are not yet sure where.

Breaking Links

The “Break Link to Symbol� button simply turns the symbol that you’ve placed on your artboard back into a regular graphic. While changes such as move, scale, rotate, reflect and skew (shear) can be made to a symbol’s instance on the artboard without changing the original symbol in the panel, more advanced edits will affect both the instance and the symbol if they are linked. By clicking on the “Break Link to Symbol� button, you can now modify the symbol in the panel without affecting the graphic on your artboard. The opposite is also true: edits made to an instance with a broken link will no longer affect the symbol.

Changing Symbol Options

The “Symbol Options� button opens the Options dialog box, where you can change the symbol to “Graphic� or “Movie Clip,� change it to 9-Slice Scaling, and make the symbol automatically align to a grid. See the section above on “Creating Symbols� for more explanation. You can also change the name, which is helpful if you duplicate a symbol.

Adding or Duplicating Symbols

The “New Symbol� button allows you to change a selected object into a symbol. Or, to quickly duplicate a symbol, just select it in the panel and drag it onto the “New Symbol� button. Illustrator will automatically name it the original symbol’s name plus a number, such as “Cube 1,� but you can change the name with the Options button.


Drag the symbol to the “New Symbol� button.


A new symbol will appear with a numbered name.

Deleting Symbols

Drag a symbol onto the Delete button to delete it from the panel. This will not delete it from your library, so if you need to use it again, just open the library and drag it back onto the panel. You can also click on the “Delete� button when a symbol is selected to delete it; a dialog box will appear asking “Delete the selected symbol?�

If you delete a symbol that has instances on the artboard, an alert dialog box will appear saying that the symbol cannot be deleted until its instance in use is either deleted or expanded. Choose “Expand Instances� to break the link to the symbol; this option will turn the instance on the artboard into a regular graphic and will delete the symbol from the panel. Choose “Delete Instances� to remove the instance from the artboard and delete the symbol from the panel.

Redefine Symbol

“Redefine Symbols� (located in the drop-down menu of the Symbols panel) allows you to change a symbol to the selected graphic on your artboard. Keep in mind that this action will change only the appearance of the symbol, while the name and other options (such as the type) will remain the same.


With the symbol selected on the artboard, select one of the previously defined symbols in the Symbols panel. In this example, we have selected the bow-tie symbol.


The bow-tie symbol now looks like the grime symbol, but the name and other options remain unchanged.

Swap/Replace a Symbol

To swap a symbol with another, select the symbol on your artboard, then select the symbol icon in the panel that you want to use in its place. From the drop-down menu, select “Replace Symbol.�

2. Advanced Symbol Use

Symbols can be edited several ways. In fact, CS5 now offers more editing options than previous versions of Illustrator, including 9-Slice Scaling (see below) and much more.

Control Window

One way to edit symbols is with the options in the Control window, located along the top (or bottom, depending on how you have arranged your Illustrator window) of your artboard. Simply click on the symbol that you want to edit, and you will notice that many of the Control window options for symbols are similar to the options for other objects, such as “Opacity,� “Recolor Artwork,� “Transform� and “Align to Selection.� You might also notice that you can break links and replace symbols from this menu.


The Control window’s options change depending on what type of graphic is selected, so some of these options are available to normal graphics, while others are exclusive to symbols.

To undo transformations, just select the symbol on the artboard and click “Reset� on the Control window; or choose “Reset Transformation� from the drop-down menu in the Symbols panel; or simply right-click on the symbol’s instance on the artboard and choose “Reset Transformation� from the context menu.

Editing as a Graphic

To edit a symbol with your primary editing tools just as you would any other graphic, click on a symbol in the panel (or, to be safe, duplicate the symbol and then edit the duplication), and select “Edit Symbol� in the drop-down menu. (Alternatively, double-click on the symbol in the panel.) You will now be able to modify the symbol in your panel as well as any instances on your artboard.

To modify only the instance(s) on your artboard and not the symbol in your panel, select the instance(s) on the artboard and break the link first. The instance will now be regular artwork that you can edit using any tool in the Tool menu.

You can always turn your edited graphic back into a new symbol by selecting the graphic and clicking “New Symbol� in the symbol’s palette.

To break links to all symbol instances at once, select the symbol’s icon in the Symbols panel, then choose “Select All Instances� from the drop-down menu.

You can also edit all symbol instances along with the symbol in the panel. Simply double-click the symbol on the artboard; or select the instance and click the “Edit Symbol� button in the Control window; or select “Edit Symbol� from the fly-out menu. An alert dialog box will appear, warning you that you are about to edit the symbol and that any changes will be made to all instances of that symbol.

You can choose “OK� or “Cancel.� This means what it says: all instances and the symbol in the panel will be changed according to the edits you make while in this “Isolation Mode.� Check the “Don’t Show Again� checkbox to prevent this warning from appearing again.

To exit the Edit Symbol mode, click on the “Back� arrow in the edit bar at the top of the artboard, or hit the “Escape� key. You can also right-click on the instance that you are editing and choose “Exit Isolation Mode.�

Registration Point Edits

In CS5, editing the registration point of symbols is possible. For those of you familiar with Flash, no more explanation is needed. For those who know nothing of Flash, the registration point basically allows you to select where to place the anchor point, which determines how a symbol will be placed within a screen coordinate.

One time when the registration grid makes a difference in Illustrator is when rotating symbols. If your registration is set to the upper-right corner of your symbol, then the symbol will rotate around that corner. You can see the location of the registration point simply by selecting the symbol on the artboard using the Selection tool. It looks like a small crosshair.

You can set the registration point by selecting a point on the registration grid when you create a new symbol. In the example below, the registration is set to the bottom-left corner. The default is centered. Just click the “New Symbol� button, and the Symbol options dialog box will pop up.

To edit the registration point or to fine tune the location, simply double-click the symbol on the artboard, and you will enter Isolation Mode. Move the graphic around; the registration point will remain stationary. When finished, click the “Back� button in the Control window. In this example, the symbol has been moved to the left, which has the effect of shifting the registration point to the right on the symbol.

Illustrator automatically uses the registration grid’s settings on a symbol, but you can turn this off. Say that you want to set the registration point to the left side of a symbol for Flash purposes, but while in Illustrator you do not want to use the grid. With the symbol selected, click on “Transform� in the Control window. Then click on the drop-down menu in the upper-right corner of the Transform panel. From this menu, select “Use Registration Point for Symbol.� With it deselected, this setting is now off.

9-Slice Scaling Edits

You can select 9-Slice Scaling for a symbol, either when you first create it or later through the Symbol options.

You can also edit the 9-Slice Scaling grid on a symbol when in “Edit (Isolation) Mode.� Double-click the symbol on the artboard to enter “Edit (Isolation) Mode.� Then hover the Selection tool over any of the gridlines until it changes to the move cursor.

Sub-Layers for Symbols

In CS5, you can now create sub-layers for symbols. The reason this is possible is that CS5 has given symbols an independent layer hierarchy, even when you expand symbols. Also, the “Paste Remember Layers� setting works when pasting objects in the symbol’s Edit Mode.

3. Symbolism Tools

One of the best aspects of symbols in Illustrator is the Symbol tools (referred to as “Symbolism Tools� by Adobe). Using symbol sets and the tools available, designing even the most detailed graphics is quick and easy.

Symbol Sets

Although you can use the Symbolism tools in a single symbol’s instance, they really shine when you use them with symbol sets. A symbol set is a group of symbol instances, often sprayed onto the artboard using the Symbol Sprayer tool. To select an entire set, just click on that symbol’s icon in your panel, or click on more than one symbol icon to select more than one symbol set.


In this example, a symbol has been sprayed onto the artboard. To select the set, simply use the Selection tool, and click on any of the symbols.

Symbol Sprayer Tool

With the Symbol Sprayer tool, you can add single instances, add single or multiple sets of instances, and delete individual or sets of symbol instances. To spray symbol instances onto the artboard, select the symbol from the panel, select the Symbol Sprayer tool from the toolbar, and click to add one instance at a time, or drag to spray several at a time.

To delete symbols from the artboard, hold down Alt or Option while clicking or dragging on the instances that you want to remove.

Symbol Shifter Tool

To move entire sets of symbols, use the Symbol Shifter tool. Just select the set or individual symbol instances that you want to shift, and with the Symbol Shifter tool selected, drag the instances in any direction on the board. You can also change the stacking order of symbols with this tool. Simply hold down Shift while clicking on an instance or a set to move it forward. Hold down Alt/Option + Shift while clicking on an instance or set to move it backward.

Symbol Scruncher Tool

The Scruncher tool is helpful for when you want to adjust the space between symbols in a set. To move symbol instances closer together, select the Symbol Scruncher tool, and click or drag in the areas between symbols. To push symbols apart, hold down Alt/Option while clicking or dragging between symbols.

Symbol Sizer Tool

Quickly resize entire sets of symbols by selecting the Symbol Sizer tool and then clicking or dragging on the symbols in the set that you want to resize. Keep in mind that only those symbols within the brush’s dimensions will change size. To decrease in size, hold down Alt/Option while clicking or dragging on symbol instances.

Hold down Shift while clicking or dragging the tool over several symbols in the set to preserve their density. You have to be careful with this shortcut, though. If you are enlarging symbols and hold down Shift, they will often be deleted to keep the density the same. But if you are downsizing symbols and use the Shift key, more symbols of the same size will be added to the set.

Symbol Spinner Tool

Another way to create variety in a symbol set made up of the same symbols is to select the Symbol Spinner tool and rotate the symbols in different directions. Click on a group of symbols and drag and rotate the cursor to turn the symbols in different directions.

Keep in mind that, just as when using the Rotate tool on symbol instances, with the Symbol Spinner tool, instances in a set will rotate based on the registration grid settings. So, if you’ve selected the upper-right corner of the registration grid when creating symbols, then your symbols will “lock� on the upper-right corner and rotate around that locked position.

Symbol Stainer Tool

This is an incredible tool for creating a naturally random color variety within a symbol set. It uses both the color’s hue and luminosity to “stain� symbol instances. Therefore, both black symbols (low luminosity) and white symbols (high luminosity) do not change at all; the higher or lower the luminosity, the less drastic the change in color.

First, you will need to select a staining color from the Color panel. With the Symbol Stainer tool selected, click or drag across the symbol instances that you want to colorize. If you want to reverse the stain effect, hold down Alt/Option and click or drag across symbols.

With the Stainer tool, the longer you hold it over a symbol set, the greater the amount of tint change. But if you want the same amount of tint no matter how much you drag the tool across a symbol set, hold down Shift. This works well when you want to change an entire set to a new shade without much variation.

Symbol Screener Tool

To change the transparency of symbol instances, select the Symbol Screener tool and click or drag across symbols. Hold down Alt/Option to reverse the transparency effect.


In this example, we have duplicated the Symbol layer several times and used the Symbol Stainer tool to add color depth. The Symbol Screen tool allows us to tone down the effect.

Symbol Styler Tool

The Symbol Styler tool allows you to add or remove graphic styles from symbol instances. First, select the Symbol Styler tool (if you select a graphic style first, then Illustrator will apply the graphic style to the entire selected symbol set). Then choose a graphic style from the Graphic Styles panel by going to WindowGraphic Styles, and click or drag across symbol instances for a gradual increase in a graphic style.

Hold down Alt/Option while clicking or dragging to reverse the style effect. Keep in mind that if you want to keep the graphic style changes the same throughout the symbol set, hold down Shift while using the Symbol Styler tool.


Here, we’ve opened a standard Graphics Style library called Illuminate Styles, by going to Windows → Graphic Styles Library → Illuminate Styles.

4. Symbolism Tools Advanced Options

To access the Symbolism tool’s options, double-click on any of the tools. It doesn’t matter which tool you double-click, because all of them can be accessed from the Options dialog box.

Options Available to All Symbolism Tools

At the top of the dialog box are options that stay the same, no matter which tool is selected. Some are fairly self-explanatory. “Diameter� determines the brush size. “Intensity� sets the change rate. “Symbol Set Density� sets the amount of symbols placed within a given area based on a formula; the higher the number, the denser the symbols will be.

“Method� (not available for all tools) adjusts the symbol’s instances: “User Defined� allows a gradual adjustment, determined by the location of the cursor; “Random� adjusts the symbols at a random rate; and “Average� smoothens the symbols gradually. Select “Show Brush Size and Intensity� to see these options while using the tools.

Click on each of the tool icons within the options dialog box to see individual adjustments and shortcuts. Not all of the tools have adjustments, and not all have shortcuts.

Symbol Sprayer Options

The Symbol Sprayer tool contains the most options. All six options contain two choices: “User Defined� and “Average.� If you already have symbol instances in place, the “Average� setting allows the sprayer to spray according to the settings of instances within the brush’s area. For example, with “Average� as the setting, spraying next to instances with variegated sizes will cause your symbol’s instances to spray in variegated sizes, depending on which ones fall within the brush’s radius.

“User Defined� means that the sprayer will place symbols using preset settings:

  • “Scrunchâ€�: The density based on the size of the original symbol.
  • “Sizeâ€�: Once again, based on the original symbol size.
  • “Spinâ€�: Symbols will orient themselves based on the movement of the mouse.
  • “Screenâ€�: 100% opacity automatically.
  • “Stainâ€�: A full amount of tint and the current color of the symbol.
  • “Styleâ€�: This is determined by the current style of the symbol.

Symbol Sizer Options

The Symbol Sizer options include only two choices. When the “Proportional Resizing� checkbox is selected, the symbol instance’s size will remain uniform when resizing. When “Resizing Affects Density� is selected, the symbol’s instances will move further away when enlarged and closer together when shrunk.

5. Make Symbols Your Best Friend

If you plan to create illustrations that repeat a lot of graphics, such as trees, grass, flowers, floating shapes and swirls, to name a few, then symbols should become your best friend in Illustrator. Rather than just copying and pasting a graphic that you have created, you can use a symbol to quickly spray hundreds to millions of copies on your artboard and make changes to them in a matter of minutes. Even if you have used symbols before, taking the time to really play around with them and maybe even following some tutorials will help you grasp this gem of an Illustrator tool.

More Resources

(al) (il)


© Tara Hornor for Smashing Magazine, 2011.


  •   
  • Copyright © 1996-2010 BlogmyQuery - BMQ. All rights reserved.
    iDream theme by Templates Next | Powered by WordPress