Comprehensive Study Notes: Adobe Illustrator Vector Mechanics & Architectural Photo Practice

Illustrator File Protocol & Course Structure

  • Assignment files and practices are structured around strict naming conventions to maintain organizational consistency.

    • File naming structure: LastName_FirstName_MiddleInitial_Play (or a smart descriptor word identifying the assignment subject, optionally appended with Mickey Dinges).
    • All course assignments, practices, guidelines, and rubrics are provided on Day 1 via Blackboard; assignments are not altered unexpectedly during the term.

  • Course Schedule and Attendance Protocols:

    • Physical sign-in sheets are passed around on designated class days (e.g., Thursdays).
    • The curriculum is broken into 4 distinct modular parts (e.g., Canon Assignment, Building Assignment).
    • Staying in class during allotted work sessions provides direct access to 1-on-1 instructional aid, allows completion of practice modules, and minimizes outside homework.
    • Open Educational Resources (OER) text materials provide step-by-step written tutorials for self-paced supplementary practice.

Adobe Illustrator Tool Mechanics

  • Fill vs. Stroke Configuration:

    • Drawing clean lines requires setting a active Stroke and setting Fill to None (none).
    • To remove fill or stroke, select the fill/stroke swatch in the toolbar and click the box with the red diagonal line through it.
    • Failing to disable fill when drawing open paths results in unexpected color overlaps across path segments.

  • Drawing Straight Lines:

    • Select the regular Pen Tool.
    • Click and release at the starting point (do not drag the mouse or trackpad).
    • Move the cursor to the second point, hold the Shift key (which constrains the angle to straight axes), and click and release.
    • To stop the Pen Tool from continuous drawing:
    • On macOS: Hold Command and click off the active artboard.
    • On Windows: Hold Control and click off the active artboard.
    • Alternatively, select any other tool from the toolbar to deactivate path creation.

  • Curved Line Mechanics ("Sexy Lines"):

    • Click, hold the mouse button down, and gently drag to pull out directional handles from the anchor point.
    • Move the cursor to the target endpoint, click, hold down the mouse button, and gently drag in the desired direction of the curve.
    • Directional handles determine the angle and degree of the arc.

  • Vector Geometry & Path Selection Components:

    • Bounding Box: Outer bounding frame containing 8 manipulation handles used for scaling or transforming whole objects.
    • Anchor Points: Specific geometric coordinate points defining vector lines.
    • Selected/Active Anchor Point: Solid blue square.
    • Unselected/Inactive Anchor Point: Hollow white square.
    • Direct Selection Tool (White Arrow): Used to isolate and manipulate individual anchor points or directional handles without moving the entire object.
    • Selection Tool (Black Arrow): Used to select, translate, and scale entire paths or bounding boxes.
    • Live Corner Widgets: Small circular controls near sharp corners that permit interactive edge rounding when pulled inward.

  • Pen Sub-Tools & Actions:

    • Regular Pen Tool: Creates new anchor points and path segments.
    • Add Anchor Point Tool (+ Pen): Adds new anchor points along an existing vector path segment.
    • Delete Anchor Point Tool (- Pen): Removes existing anchor points from a path without breaking the path structure.
    • Anchor Point Tool (Convert Anchor Point / Inverted V): Click and drag an anchor point lacking handles to extend control handles, or manipulate existing curves.

  • Open vs. Closed Paths:

    • Closed Path: Every anchor point connects sequentially in a continuous loop. Fills reliably across the interior space.
    • Open Path: Endpoint anchor points do not connect. Applying a fill to an open path forces the software to draw a straight fill line between the first and last points, creating graphic errors.
    • Application Rules: The Canon Assignment heavily relies on closed paths; the Building Assignment primarily utilizes open paths to capture light quality and individual lines.

  • Geometric Shape Tools vs. Manual Vector Creation:

    • Always utilize geometric shape tools (e.g., Ellipse/Circle tool) when precise geometry is required (e.g., wheel construction in Canon Assignment Part 4) rather than attempting to draw rounded elements freehand with the Pen Tool.

  • Eyedropper Tool Usage:

    • Select the target vector object intended to receive the new color properties.
    • Select the Eyedropper Tool from the toolbar.
    • Click directly on the source object containing the desired fill/stroke color to transfer properties automatically.

  • Precision Keyboard Arrow Nudging:

    • Select an object or specific anchor point.
    • Use directional keyboard arrows to nudge elements incrementally when manual mouse dragging lacks micro-level control.

Visual Storytelling & Vector Iconography

  • Minimalism in Visual Narrative:

    • Expressing complex human emotions and actions using simple vector lines is a core design skill.
    • Simple vector iconography relies on line manipulation and audience familiarity with human gestures.

  • Vector Icon Examples:

    • Two abstract heads leaning back: Communicates reflection, evaluation, or mutual observation.
    • Contemplation / "The Thinker" Pose: Abstract figure sitting in a chair, leaning back with elbows supported and head lowered.
    • Joy / Triumph: Abstract cyclist figure with arms extended upward at the conclusion of a race (e.g., Tour de France winner).

  • Logo & Scalability Applications:

    • Simple visual storytelling icons translate effectively into scalable logos.
    • Simple vector designs maintain clarity at small sizes (e.g., social media icons, t-shirts, vehicle graphics).
    • Complex illustrations (e.g., Pittsburgh Zoo negative space logo) require structural balance to prevent loss of detail at small scales.

Architectural Photo Practice Assignment

  • Assignment Timelines & Scope:

    • Photo Practice Due Date: September 17 (09/17).
    • Building Vector Practice Due Date: October 15 (10/15).
    • Purpose: Serves as a practical exam assessing comprehension of visual design principles, light source positioning, focal points, line quality, and perspective.

  • Mandatory Submission Guidelines:

    • Exactly 5 final photos must be submitted.
    • File Format: JPEG (.jpg). Original RAW or high-efficiency (.heic/.hex) files must be retained as local backups.
    • Platform: Submitted via Blackboard under the "Practices" section.
    • Re-submission Policy: Multiple submissions can be made prior to the deadline, but only the final 5 photos submitted will be evaluated.
    • Originality & Recency: Photos must be taken personally between the date assigned and the submission deadline. Using archived summer photos or downloading images off the internet constitutes academic fraud resulting in course failure.

  • Safety & Conduct Constraints:

    • Do not place yourself in physical danger (e.g., standing in active train tracks or busy roadways).
    • Arrests or vehicular accidents resulting from photo shoots carry immediate academic failure.

  • Building Capture Rules:

    • Whole Building Requirement: The entire structure must be captured in the frame (partial shots of single windows, doors, or isolated corners are prohibited).
    • Large Structure Exception: Unusually massive structures (e.g., Science Building, Morrow/Drinko Library) may be captured in sections only with prior instructor approval.
    • One Building Per Image: Primary focus must remain on a single distinct building per shot. Surrounding context/adjacent buildings can be ghosted in later using subtle vector lines during the drawing phase.
    • Recommended Sample Size: Take 25 to 50 total photos across multiple structural subjects (e.g., Old Main, Science Building, Drinko Library, downtown 5th Street, churches, local storefronts, family residences) to select the best 5.

  • Lighting Criteria:

    • Light Source Position: The primary light source (sun) must be situated behind or off to the side of the photographer, directly illuminating the front facade and key focal points.
    • Prohibited Conditions:
    • Backlit Structures: Avoid light sources located directly behind the building.
    • Night Photography: Strictly prohibited (results in a score of 0, barring rare architectural exceptions like Charleston glass structures lit from within).
    • Heavy Rain: Prohibited due to lack of direct directional sunlight and clear shadow definition.

Architectural Perspective Types

  • One-Point Perspective:

    • Created by positioning the camera flat, directly dead-on facing a building's front plane.
    • Vanishing point aligns straight ahead.
    • Simplest to capture, but prone to horizontal/vertical tilting alignment errors if the camera lens is angled up, down, or sideways.

  • Two-Point Perspective:

    • Created by shooting a building from an angle or corner view.
    • Reveals two distinct exterior side planes while vertical structural lines remain straight up and down.
    • Ideal for establishing depth and dimensional balance.

  • Three-Point Perspective:

    • Created by looking up at tall structures (e.g., downtown skyscrapers) from a low camera angle.
    • Features two side planes with vertical structural lines angling inward toward a third vanishing point high in the sky.
    • High visual drama, though complex and tedious to trace completely in vector format.

  • Perspective Submission Rule:

    • The 5 submitted photos must collectively demonstrate all 3 perspective types (One-Point, Two-Point, and Three-Point). Submitting exclusively One-Point perspective shots severely impacts assignment scoring.

Architectural Case Studies & Narrative Focal Points

  • Focal Points and Narrative Elements:

    • A building photo must contain a distinct focal point (e.g., front staircase, detailed entryway, stained glass window) to draw viewer interest and establish narrative hierarchy.

  • Case Study 1: Abandoned Toys "R" Us Store

    • Context: An empty store facade and vacant parking lot lacked complexity and visual interest.
    • Solution: The student photographed an industrial trash dumpster, drew the dumpster into the scene, placed garbage surrounding it, and illustrated Geoffrey the Giraffe inside the dumpster to convey corporate bankruptcy and emotional nostalgia.

  • Case Study 2: Abandoned Factory (6th Street)

    • Context: An overgrown, abandoned industrial plant with Art Deco / Streamline architectural lines, metal tanks, and adjacent railroad tracks.
    • Solution: Isolating key metal line quality, weathered textures, and converging track lines yielded a vector drawing that outperformed the original reference photo.

  • Case Study 3: Historic Corner Church

    • Context: A brick church featuring an ornate entrance and stained glass.
    • Solution: Focused on a stained glass window housing an illuminated cross as the central focal point, emphasizing surrounding structural lines to direct viewer focus inward.

  • Case Study 4: Abandoned Gas Station

    • Context: A vacant, plain gas station located near a city courthouse.
    • Solution: Photographed a vintage 1950s classic car, traced and positioned it at the pumps, transforming an abandoned station into a historic narrative scene set in the mid-20th century.

  • Case Study 5: Drinko Library vs. Morrill (Moro) Library

    • Context: Distinct architectural features dictate visual narrative.
    • Solution for Drinko Library: The covered glass walkway/awning is the indispensable structural story element; omitting the walkway destroys structural identity.
    • Solution for High-Angle/Bird's-Eye View: A photo taken from a 14th-floor room in the Twin Towers looking down at a surrounding circular sidewalk captured high-angle perspective.

  • Case Study 6: Symmetrical Greek Revival High School

    • Context: A massive building that could not be photographed completely from the street level without traffic interference.
    • Solution: Shot the central portal and one wing dead-on in a one-point perspective, traced the central entrance and single wing in Illustrator, then copied, flipped, and joined the path horizontally to render the complete symmetrical structure perfectly.

Dialogue & Student Discussion Notes

  • Q: What happens if it rains for several days right before the photo assignment due date?

    • A: Weather delays are not acceptable excuses for late submissions. Assignments must be planned and executed early within the allotted window.

  • Q: Can students perform photo practices on structures outside the local campus area?

    • A: Yes. Students may photograph structures across campus, along downtown streets (e.g., 5th Street, 6th Street), historic districts, hometown buildings, or family residences.

  • Q: Can photos taken during previous vacations or downloaded from search engines be submitted?

    • A: No. Submitting non-original or archived photos constitutes academic dishonesty, resulting in an automatic failing grade (F).

  • Q: What file format is generated when transferring photos from mobile devices to desktop systems?

    • A: Photos shot on modern mobile devices may transfer as .heic or high-efficiency files. These must be exported or converted to standard .jpg format prior to uploading to Blackboard.

  • Q: Is it permissible to submit shots containing connected adjacent buildings?

    • A: Yes. Focus primary line work and shading on the main target structure, while ghosting in adjacent attached buildings using light, subtle vector outlines.