The Adobe Illustrator WOW! Booklet for June 2013 CC Release 21
Sharon Steuer
Borrowing elements from Illustrator art she
created several years earlier, Sharon Steuer rein-
vigorated the original calligraphic brush work
with the addition of a frame made with a Pat-
tern brush, invoking the look of a craft frame
made by children on a beach vacation. Steuer
duplicated, scaled, and rearranged the shells
and starfish. Dragging them into the Brushes
panel, she chose Pattern Brush, enabled Stretch
to fit (under Fit), chose Tints and Hues as the
Colorization Method, and clicked OK. For the
corner, she decided to use a photograph of a
real shell. After masking the photo in Photo-
shop, she placed it as an embedded image in
Illustrator. To add the photo as a corner tile
to the pattern brush, she selected the masked
shell, then—with the Brushes panel in Thumb-
nail view—held Option/Alt as she dragged the
photo to the far left “tile space”of the shell
Pattern brush. Checking that her settings were
still correct, she clicked OK. After applying the
brush to a rectangle to form a frame, she didn’t
like the position of the photo. To figure out
how to reposition the shell, she used the frame
on the artboard as a reference and positioned
a copy of the masked shell photo over the
original corner of the frame, rotating it into
the desired position. Holding down the Option/
Alt key, Steuer dragged the rotated shell onto
the previous corner tile in the Brushes panel,
retaining the other options. To make Pattern
brush variations, she worked with duplicates
of the original Pattern brush, changing the
Stroke weight in the Control panel and playing
with different colorization methods in Brushes
Options. To apply the color to vector objects of
the Pattern brush, she changed the Stroke color.
To apply a shadow to the frame she selected
Stroke in the Appearance panel, clicked on the
fx icon, then selected Stylize> Drop Shadow.
Some of the color and scale experiments are
shown above right.
22 The Adobe Illustrator WOW! Booklet for June 2013 CC Release
Sharon Steuer
Sharon Steuer chose her photo of three rain-
bow chard leaves on a white background as
source material for raster Illustrator brushes. In
Photoshop Steuer used a combination of tools
to isolate each chard leaf from the others and
from the white background (her Photoshop
Layers panel above). She saved each leaf in its
own file in PNG format. In a new Illustrator file
she chose File> Place, disabled the Link option
(so the placed files would be embedded), then
she selected all three chard leaf PNG files in the
dialog (holding Shift), and clicked OK. Moving
her loaded cursor into her artboard she clicked
to place each of her images, one after the
other. Dragging the first leaf into the Brushes
panel, she chose Art Brush and clicked OK, but
received a warning dialog that the artwork’s
resolution was too high. She cancelled, resized
the three chard leaves, and then duplicated
them. Selecting one of the duplicates, she chose
Object> Rasterize, then enabled the Medium
(150ppi) and Transparency settings and clicked
OK. Dragging this downsized image into the
Brushes panel, she chose Art Brush and clicked
OK. This time Art Brush Options opened, where
she enabled Stretch to Fit Stroke Length and
the up-pointing direction arrow before clicking
OK. She then applied Rasterize to the other two
duplicates and made brushes for each of them
as well. With the three chard brushes prepared,
Steuer switched to the Artboard tool and cre-
ated a new artboard. She then drew a pair of
colorful rectangles as a background. Locking
this layer, she created another layer above for
the raster brushes. With the Paintbrush tool,
she painted with this set of brushes, creating a
simple chard forest.

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