Required Software

• Adobe After Effects
• Adobe Photoshop
• Adobe Media Encoder

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Required Demo files (Download from the class D2L site)

• Exercise 8 AE+Photoshop Demo.ai
• 01 Micro Composition A.mp3
• All other sound effect files

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Tools and techniques covered in this demo:

• Importing files
• Navigating and animating to specific audio points on a soundtrack
• Animating to create a cause and effect sequence
• Animating properties of layers with keyframes: Anchor points, position, rotation, and scale
• Using easing keyframes
• Using Effects on single layers
• Adding sound effects
• Exporting a .mp4 movie with Media Encoder

Start by opening both After Effects and Media Encoder. Hint: close all other programs to help with memory!

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Exercise:

Part 1: Organize your files in a dedicated Asset Folder

Download the required demo file and save them in the dedicated folder on your desktop called “Exercise 8 AE+Photoshop Assets” on your desktop. * Any and all related exercise files will be saved in this folder. This is a critical step to keeping your files linked to your After Effects project and to submitting your project later!

Part 2: Set up auto-save preferences, overview of tools, set up the workspace, import asset files, and create a new Composition

Set up the Autosave preferences:

Go to After Effects>Preferences>Autosave… and change the Auto save to every 5 minutes with 10 previous versions. Save these next to your project. Click Ok.

Set up your workspace & import the demo Illustrator file:

Open After Effects and go to Window>Reset Workspace or set workspace to Default

Create a new project by going to File>New>Projectand title it LastName_FirstName_Exercise8_Photoshop+AE.ae (Example: Anfinson_Erin_Exercise8_ Photoshop +AE.ae)

 SAVE this project in the Exercise 8 Asset folder!

Import the Photoshop file into the Project Window by going to: File>Import… Then select the Exercise 8 AE+Photoshop Demo.psd file.

In the dialogue box that pops open, select “Composition-Retain Layer sizes” from the drop down menu and hit Select.

Next make sure Editable Layer Styles is selected, then hit OK.

Back in After Effects, your Photoshop file will be in the Project window. (A composition and a folder of the separate layers will also be there)

Repeat the import process for all .mp3 audio files

Check how the timecode is set. Frames or 00:00:00:00? Command Click the time code in the time line to set it to 00:00:00:00. (Hrs:Minutes:Seconds:Frames)

Set the composition settings and open the Photoshop file on the timeline

Click the composition in the project window to select it

Go to Composition>Composition Settings… and make sure you have 24fps (frames per second) selected and that the duration is 15 (0:00:15:00) seconds long. *Our audio track is 15 seconds long and we want to match that.

Click OK.

Double click the Composition to open it in the timeline.

Lock layers that will not move: Space, Reef Back, Reef Front, and Water

Part 3: Mark key points in the audio soundtrack

Drag the Micro Composition A soundtrack to the bottom layer of the composition and add Markers to the following points on the audio file

Click on the audio layer to activate it.

Twirl down the Audio and then Waveform triangle menus

Move the timeline play head to the 1:07 mark and make a marker at this point by going to Layer>Add Marker or by hitting Control, 8 on your keyboard.

Repeat adding markers to the following three additional points in the audio

3:16, 4:20, 9:15

Part 4: Animate keyframes to marked soundtrack points

Layer Property: Move Anchor points with the Pan Behind Tool

Select each layer individually and use the Pan Behind tool  to move the anchor point for each object to the place where you might want it to pivot or rotate from. HINT: Turn on the Isolation mode for each layer as you work.

Save your work.

Layer Property: Position (P)

Animate the Shell & Woman layers to arrive at the 1:07 & 3:16 marked points in the audio track

Our layers are in the position where we want them to land. Start by creating keyframes for the landing places for each layer at the desired audio track marker.

Next, work backward (earlier) on the time line and create keyframes for the each layer’s entry on to the stage from off camera.

Experiment with varied speed and timing of entry and arrival on the stage by moving the keyframes closer and farther apart.

Save your work.

Parent the Hand and Starfish layers to move into the scene together

If it’s not already, move the Starfish 2 layer directly on top of the Giant Hand layer.

Select the Starfish 2 layer and open the drop down menu under the Parent & Link and select the Giant Hand from the menu.

The layers are now linked together.

Add keyframes to animate the Giant Hand layer’s entry on the stage starting offstage at 4:20 and arriving on stage at 9:00  

Save your work

Leave the Starfish on the stage & remove the Giant Hand with Layer splitting

Keep the Giant Hand layer selected and move the play head to 9:15.

Go to Edit>Split Layer  The Giant hand layer is split and sits immediately above. It is no longer parented to the Starfish layer.

Select the new split layer, Open the Position (P) and delete the unnecessary keyframes by clicking the stopwatch.

Create a new keyframe for the hand’s position at 9:15

Move the play head to 11:00 and then move the hand offstage to create it’s exit keyframe.

Save your work

Layer Property: Rotation

Add Keyframed Rotation to each layer

Work back through the entire animation and add small keyframed rotations to each layer’s entry and/or exit

Save your work

Add Keyframe Easing to make movements more natural

Work back through the entire animation and add Ease In to each layer’s arrival keyframes and arrival Rotation keyframes on stage

Also add an Ease Out to the Giant Hand’s exit at 9:15

Instructions:

Select all layers by hitting Command A, then hit UU on your keyboard to reveal all animated properties

Select the top layer to work with. Click and drag around the end keyframes for all animated properties of that layer (Position, Rotation, and Scale)

Go to Animation > Keyframe Assistant…> Ease In (or Ease Out)  This will add easing and more dynamic movement to your motion paths and rotations.

Save your work.

Layer Property: Scale

Add a Keyframed minor scale change to the Water Layer

Reveal and unlock Water layer and move the play head to the beginning of the timeline

Open the Layer Scale properties (S), keep the scale at 100%, and add a keyframe by clicking the stopwatch

Move the play head to the end of the composition and change the scale to 110% add a keyframe. This will create a slow scale growth change over the course of the entire animation.

Save your work.

Change the color of a layer with an Effect

Click on the starfish layer to select it

Go to Effect>Color Correction and select Hue/Saturation. The effect will be active on the Starfish layer and the Effect Controls will pop up in the Project Window

Click Colorize and change the color of the starfish by changing the colorize Hue and Saturation dials below the button. Notice you can keyframe these changes!

Add at least 2 other effects of your choice on different layers

Save your work.

Part 5: Add sound effects to your animation

Drag the Golf Clap sound effect to the timeline and place the in-point at 9:15

To make the sound fade, open the audio wave form and place a keyframe at 10:15 at 0.0db

Next, go to the end of the animation and place another keyframe and drag the volume level down to -60db.

Repeat, adding at least 2 other sound effects of your choice to different areas on the timeline.

Part 6: Making changes to your Photoshop File

If you need to make masking changes to Photoshop collage, open the demo .psd file in Adobe Photoshop. Make any changes and then Save. The file is dynamically linked to the AE file and will be updated automatically in the AE workspace. This works well for making changes to masking in Photoshop. Keep your effects and colors in AE.

NOTE: This only works for existing elements. New drawn elements will have to be imported into AE individually.

Part 7: Export a .mp4 of your animation with Media Encoder

If Adobe Media Encoder is not opened, open it now. It may take a few minutes to load.

In After Effects, go to Composition>Add to Adobe Media Encoder Queue…

Your After Effects composition will pop up in the Queue window in Media Encoder.

Make sure the following settings are set:

Format: H.264

Preset: Match Source – High bitrate

Output File: Click the link and navigate to your Exercise 8 AE+Photoshop Asset Folder to save the export there

Click the Green Play Arrow in the upper right and wait for your movie to export!

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Exercise requirements & submission guidelines

Successful exercises will demonstrate and be evaluated on the following:

Use of all images from the provided .psd demo file

Anchor points moved on all layers for improved rotation

All required layer properties animated to marked points on the audio soundtrack: Position, Rotation, and Scale

Keyframe easing added to smooth motion

Color effects, or other effects of your choice, added to 3 layers

Sound Effects added to 3 layers

Correctly exported .mp4 movie file

Workspace Organization

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Exercise Output & Submission Requirements:

Send a copy of your Exercise 8 AE + Photoshop Asset Folder with all of the required contents with the free file transfer service, WeTransfer.com, to Erin.Anfinson@mtsu.edu by the due date.

Asset Folders must contain the following to be graded:

Exercise 8 AE+Photoshop Demo.psd

All sound effects and audio soundtrack .mp3’s

After Effects File: LastName_FirstName_Exercise8_Photoshop+AE.ae

Exported .mp4

Learning Objectives:

In this exercise you will be introduced to the Adobe After Effects workspace and will learn to import and animate drawings from an Illustrator file. Please keep this information for guidance with Project 5

Required Software

• Adobe After Effects,
• Adobe Photoshop
• Adobe Illustrator

Exercise Files on D2L:

• This handout, demo video, and the Exercise 5.1 AE + Illustrator.ai file

Tools and techniques covered in this demo:

• Workspace setup & overview
• Importing files
• Navigating and animating to specific points on the time line (Shift Left/Right arrows)
• Animating properties of layers with keyframes: Anchor points, position, rotation, and scale
• Using easing keyframes
• Trimming layers with Command [ and Command ]
• Staggering keyframe timing with key commands (Option Left/Right arrows)
• Exporting an animated .gif Photoshop & After Effects

Exercise:

Part 1: Organize your files in a dedicated Asset Folder

1. Create a new asset folder for your Exercise 5.1 files on your computer’s desktop. Label the folder LastName, FirstName Exercise 5.1

2. Download the Exercise 5.1 AE + Illustrator.ai demo file from D2L and save it in this asset folder. IMPORTANT!  Any and all related exercise files will be saved in this folder. This is a critical step to keeping your files linked to your After Effects project and to submitting your project later!

Part 2: Set up auto-save preferences, overview of tools, set up the workspace, import asset files, and create a new Composition

Set up the Autosave preferences:

1. Go to After Effects > Preferences > Autosave… and change the Auto save to every 10 minutes with 10 previous versions. Save these next to your project. Click Ok. After Effects will save backup versions of your project in a folder in your asset folder.

Set up your workspace & import the demo Illustrator file:

1. Open After Effects and go to Window > Reset Workspace or set workspace to Default
2. Create a new project by going to File>New>Projectand title it LastName_FirstName Exercise5.1.aep (Example: Anfinson_Erin Exercise 5.1.aep)
   1. If old project loads, create a new project (File>New>Project)
3. Import your Illustrator file into the Project Window by going to: File>Import… Then select the Exercise 5.1 AE + Illustrator.ai file from your asset folder.
4. In the dialogue box that pops open, select “Composition-Retain Layer sizes” from the drop down menu and click Open.

Back in After Effects, your Illustrator file will be in the Project window. (A composition and a folder of the separate layers will also be there)

1. Check how the timecode is set. Frames or 00:00:00:00? Command Click the time code in the time line to set it to 00:00:00:00. (Hrs:Minutes:Seconds:Frames)
2. Set the composition settings and open your Illustrator composition on the timeline
3. Click the composition in the project window to select it
4. Go to Composition>Composition Settings… and make sure you have 24fps (frames per second) selected and that the duration is (0:00:05:00) 5 seconds long.
5. Click OK.
6. Double click the Composition to open it in the timeline.

Part 3: Animate different layer properties with Keyframes

Keyframes are instructions for the beginning and end of any animated property in your After Effects project. You are telling the software what to do and when.

Turn on Continuously Rasterize for all Layers 

Select all layers by hitting Command A, then check the empty boxes under the Continuously Rasterize symbol to activate. This will scale the vector files smoothly.

Layer Property: Move Anchor points with the Pan Behind Tool 

Select each layer individually and use the Pan Behind tool  to move the anchor point for each object to the place where you want it to pivot or rotate from.

Save your work.

Layer Property: Position

Animate all layers to arrive on stage at you’re the 3 second mark (3:00)

Our layers are in the position where we want them to land. Go to the 3 second mark in the timeline by clicking the time code box and typing in 300. The marker will move to 3:00 on the timeline

Select all layers by hitting Command A, then click the triangle beside Transform on one of the layers to reveal the different properties you can animate (Anchor point, Position, Scale, Rotation, & Opacity).

Keep all layers selected and hit P to isolate the Position property. Now click the Stopwatch icon  by the “Position” properties for one of the layers. This will create keyframes at the 3:00 mark in the timeline.

Deselect all layers by clicking anywhere on the stage or hitting Shift/Command/A and move the marker to the beginning of the timeline manually or by

Click the timecode box and enter 0

Start with the top layer and drag the image completely off of the stage. Notice the motion path that is pulled behind the layer.  Pull on the Bezier curve handles to add curves to the motion path. A new keyframe is created at the beginning of the animation. Press your keyboard spacebar or click Play in the preview window to see the animation.

Keeping the time marker at 0:00:00:00, repeat step 5 for all other image layers.

Save your work.

TIP: You can also easily navigate to the beginning and end of your timeline with the following key commands, depending on your type of keyboard.

Full keyboards: Use the Home & End keys to go to the beginning or end

Laptop keyboards: Press fn + Page Left / Page Right arrows

Layer Property: Rotation

Add Keyframed Rotation to each layer

Go to the 3 second mark in the timeline by clicking the time code box and typing in 300. The marker will move to 3:00 on the timeline

Select all layers by hitting Command A, then click the triangle beside Transform on one of the layers to reveal the different properties you can animate (Anchor point, Position, Scale, Rotation, & Opacity).

Keep all layers selected and hit R to isolate the Rotation property. Now click the Stopwatch icon  by the “Rotation” property for one of the layers. This will create keyframes at the 3:00 mark in the timeline. Keep the rotation settings at 0x+0.0º 

Keep all of the layer selected and move the marker to the beginning of the timeline manually or by

Click the timecode box and enter 0

Hitting Home on your keyboard

Hitting fn + Page Left arrow on a Mac laptop keyboard

Change the rotation settings to 0x+180º and hit Return. Hit the spacebar to see your results.

Save your work.

Layer Property: Scale

Add a Keyframed Scale Change to all layers:

Go to the 3 second mark in the timeline by clicking the time code box and typing in 300. The marker will move to 3:00 on the timeline

Select all layers by hitting Command A, then click the triangle beside Transform on one of the layers to reveal the different properties you can animate (Anchor point, Position, Scale, Rotation, & Opacity).

Keep all layers selected and hit S to isolate the Scale property. Now click the Stopwatch icon  by the “Scale” property for one of the layers. This will create keyframes at the 3:00 mark in the timeline. Keep the Scale settings at 100%.

Keep all of the layers selected and move the marker to the beginning of the timeline manually or by

Click the timecode box and enter 0

Hitting Home on your keyboard

Hitting fn + Page Left arrow on a Mac laptop keyboard

Change the scale to 50% to create a new keyframe. Hit the spacebar to see your results.

Save your work.

Add Keyframe Easing to make movements more natural

Go to the 3 second mark in the timeline by clicking the time code box and typing in 300. The marker will move to 3:00 on the timeline

Select all layers by hitting Command A, then hit UU on your keyboard to reveal all animated properties

Select the top layer to work with. Click and drag around the end keyframes for all animated properties of that layer (Position, Rotation, and Scale)

Go to Animation > Keyframe Assistant…> Ease In  This will add easing and more dynamic movement to your motion paths and rotations.

Play back your results and repeat for all other layers.

Save your work.

Create exits/disappearances by trimming each layer at different points on the timeline.

Go to the 3:12 mark in the timeline by clicking the time code box and typing in 312. The marker will move to 3:12 on the timeline

Select the top layer to work with and use press Command/Right to move the time marker forward 4 frames

Hit Option ] to trim the timeline at this point

Play back your results and repeat trimming on all other layers, but trim them all in a sequence 4 frames after each other. You should end up with the bottom text layer timing out at 4:12. Play back your result and experiment with varying the trim times. You can always re-extend the layer by clicking and dragging it to the right and then re-trimming it with Option ]. Just make sure you keep at least 12 frames of blank background at the end for a looped playback.

Save your work when you are satisfied with the results.

Part 4: Making changes to your Illustrator File

Making changes to existing property

If you’d like to change an existing property of your Illustrator drawing, like the color or line weight, open the demo .ai file in Adobe Illustrator. Make any color fill changes and then Save. The file is dynamically linked to the AE file and will be updated automatically in the AE workspace after a few seconds. Personalize the drawings by making color changes to the existing drawn elements of save for your final animation. NOTE: This only works for existing elements. New drawn elements will have to be imported into AE individually.

Adding new drawn elements

If you’d like to add a new drawn element to your AE animation, add the drawing(s) on a new layer(s) in Illustrator and then save your file and follow these steps:

In After Effects go to File > Import > File…

In the Import pop-up windo, navigate to your Illustrator file, leave Footage selected, and uncheck Create New Composition. Click Import.

In the next pop up window, click Choose Layer and select your new drawing layer from the drop down menu. Click Import.

Your new layer will be added to the Project Window and can be added to the composition timeline.

Part 5: Export a looping .gif of your animation with Photoshop 

Export a high quality .mov file from After Effects

In After Effects, go to Composition>Add to Render Queue

In the Queue window, open the Format dropdown menu and set to Lossless. Click on Lossless.

In Output, click on your file and navigate to your Exercise 5.1 Asset folder to save the export.

Click the Render button to render. A .mov version of your animation will be saved.

Use Photoshop to export a looping animated GIF of your animation

Open Photoshop, then open your .mov animation

Go to File>Export>Save for Web (Legacy)…

In the new dialogue box change the Preset to 128 Dither and make sure looping is set to Forever.

Hit Save and save your exported GIF to your Exercise 5.1 Asset folder and enjoy!

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Exercise Requirements (Assessment criteria)

Use of all images from the provided .ai demo file

Anchor points adjusted on all layers

All required layer properties animated: Position, Rotation, and Scale

Keyframe easing added to smooth motion

Staggering of keyframes to stagger animation timing for each layer

Dynamic linking used to change the color of the .ai file layers to new colors of student’s choice

Correctly exported .mov and animated .gif files

Workspace Organization

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Exporting and submitting your exercise:

When you have completed Exercise 5.1 double check to make sure that you have saved everything to your Exercise 5.1 Asset folder.

Compress your Exercise 5.1 Asset Folder and submit via the free file transfer website, WeTransfer.com

Compress or zip your Exercise 5.1 Asset  folder containing: Exercise 5.1 AE+Illustrator Demo.ai, LastName_FirstName Exercise5.1.aep, Exported .mov, Exported animated .gif

A .zip file will be created next to the folder

Go to WeTransfer.com, upload the .zip file, type your name and “Exercise 5.1” in the Message box, and send it to Erin.Anfinson@mtsu.edu

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Resources and Tutorials:

For further help with the AE workspace & tools, visit the online user guide at

https://helpx.adobe.com/after-effects/user-guide.html

Learning Objectives

Students will learn how to import a hand drawn sketch into the Illustrator workspace as a template layer and trace over it to create a vector drawing

Vocabulary and tools covered:

Resolution, CMYK vs RGB color space, Placing an image, Template, Linked vs Embedded images, Bezier curves, Pen tool, Stroke, Variable Stroke Width, Fill, Split Complementary Color Harmon, Color Group

Project

Part 1: Create and scan or photograph your drawing

1. Create a drawing of a your favorite art-making, building, or drawing tool in your sketchbook. Make sure the lines of your drawing are dark enough to show up on a scan or photograph. Don’t worry about making it perfect, it will be the base of our sketch.
2. Option 1: If you have a scanner at home, watch the demo video on D2L to learn how to scan your sketch with a flatbed scanner.

Option 2: If you do not have a scanner, watch the demo video on D2L to learn how to photograph your sketch with your smartphone or another device. Make sure you have good lighting that is evenly distributed across the entire page, cast shadows, and make sure your sketch is flat and not at a skewed angle! If your drawing does not cover the entire page, crop in your photograph to just around the drawing area.

• Save your scanned or photographed drawing as a jpeg in a new folder titled Last Name  Exercise 2.

Part 2: Import the jpeg of your scanned drawing into a new Illustrator document

1. Open Adobe Illustrator and create a new 8 ½” x 11” artboard (File>New…).  Select RBG color space for screen viewing, 300ppi resolution. (CMYK is for print output) Name this document LastName_FirstName Exercise 2.ai (Example: Anfinson_Erin Exercise 2.ai)
2. Reset your Workspace to Painting (Window > Workspace > Painting)
3. Go to File>Place…
4. Navigate to your image in the Exercise 2 folder and select it to import it on to your art board
5. Click on your artboard to place your scanned image and move it to where you want it on the page
6. Keep the image selected and click “Embed” in the top navigation bar of the workspace
7. Double-click the scanned drawing layer and click the “Template” option, dimmed to 50% (this locks your layer to the artboard)
8. Save your work to your Exercise 2 Folder (Command S).

Part 3: Set up a Split Complement color group in the Swatches window

• Select 3 colors from a Split Complementary color harmony of your choice:

Image from https://zevendesign.com/color-harmony-hulk-wears-purple-pants/

• Once you have your key color + 2 split complementary colors selected, open the Swatches window by going to Window > Swatches.
• Also open the Color window by going to Window > Color.
• In the Swatches window, click on the upper right button to open the flyout menu, then select New Color Group…

TIP: Whenever you need a lighter or darker version of one of your Split Complementary Color Group colors, select it from the folder and double click the fill or stroke color chip. A monochromatic color chart will open. This combination of colors can be used as fill and stroke colors on your Exercise 2 Drawing.

• Name the color group Split Complementary and click OK. A new folder will be created in the Swatches window.

• Use the preset color swatches or the Color window to select your first key color (Example orange). Your selected color will fill the Fill color chip.
• Click and drag the color chip down into the new Split Complementary Color Group folder.
• Repeat steps 6 and 7 to select your split complement colors (Example: blue-violet & blue-green)
• Save your work. (Command S)

Part 4: Trace the outlines of your sketch with the Pen and Pencil tools 

Trace the base layer(s) of your sketch with the pen tool  (No Fill)

1. Create a new layer for your drawing by clicking the Create a New Layer button in the Layers window or by going to Layers > New Layer. Rename this layer Outlines.
2. If necessary, zoom in to get a better view of your drawing. (Command +). Then use Pencil or Pen tool (P) to activate and select a uniform black 1pt. stroke with no fill.

1. Begin carefully tracing the outlines of your drawing with the pen, pencil, or both tools in combination with each other.
2. Use the pencil tool to draw linear shapes, adjust their width profile with the Width Profile tool, then turn them into a shape using Object > Expand Appearance.
3. Try to match the contours of your drawing as closely as possible by adding, editing and/or removing anchor points with the Direct Selection (A) tool and/or the Add/Delete Anchor Point tools. If necessary, zoom in to get a better view of the details in your drawing. (Command +).

Part 5: Apply custom variable stroke width profiles to your drawn outlines

1. Select a prominent line in your drawing. Use the Width Profile tool (Shift W) and/or the general width profile tools to vary it’s stroke width. Don’t forget to open the Stroke properties to change the caps and angles of the stroke if you’d like!
2. Once you have a width profile you’re happy with, save it as a preset in the Stroke properties menu. You can now select all of the outlines in your drawing and apply this saved width profile to your entire drawing. Notice that you can even change the direction of the stroke property, i.e. reverse it!
3. Make changes to the drawing until you are satisfied with your results.
4. Group your Outlines in a new sub-layer by selecting them all & Grouping them (Command G)

Interested in taking a deeper dive into more options with the Stroke tool window? Check out this overview on the Adobe online help guide.

Save your work (Command/Ctrl S)

Part 6: Draw & trim filled background shapes with color using the Shape Builder Tool

1. Begin drawing large, overlapping shapes BEHIND your outlines, filling each shape with colors from the Split Complementary Color Group you set up. Remember to use different lights and darks for each color!
2. To trim these shapes to the borders of the outlines, Select the newly drawn shape and all of the outlines that intersect it.
3. Use the Shape builder tool (Shift M) and hover your cursor over the areas of the shape you need to delete. Hold the Option key and when you see the negative sign, click to delete the unneeded portion of the shape.  
4. Repeat these steps to add color to all other areas of your drawing!

Part 7: Wrapping up by grouping, centering, & resizing the Artboard

When you are finished with your drawing, Group all drawn elements together, scale the drawing to fill the artboard, and Align your drawing in the center of the artboard. Finally, use the Transform window (Window > Transform) to find the overall height and width of your completed and grouped drawing. Use the Artboard tool to create a 1” border on all sides of your drawing based on it’s height/width dimension.

For example:

If the drawing is 4” x 8,”

then, the Artboard should be 6” x 10” (adding 2” to the height and width of the artwork)

Exercise Requirements (Assessment criteria)

1. The hand-drawn sketch was effectively scanned or photographed and imported as a template layer in Illustrator.
2. Drawing demonstrates the use of a split complementary color scheme that is applied to the fills and strokes in the drawing. An exploration of the dark and light values is evident in the key and split complement color choices.
3. A Color Group was created for the drawing color harmony in the Swatches window
4. A noticeable effort was made to use variable stroke width profiles throughout the drawing.
5. Final drawing is correctly grouped and centered on the Artboard with a 1” border around all sides.
6. Workspace organization: Layers are labeled and on the correct art boards.

Exporting and submitting your exercise:

1. When you have finished Exercise 2, go to File > Save As…
2. Next, select Adobe PDF from the format options.
3. In the next window, make sure “Preserve Illustrator Editing Capabilities” is checked!
4. Click Save. Be sure you file is labeled correctly! LastName_FirstName Exercise 2.pdf (Example: Anfinson_Erin Exercise 2.pdf)
5. Submit the PDF of your completed Exercise 1 file in the class D2L Dropbox