NAME :- Muhammd Saad

CMS NO :- 1443-2023
SUBMMITED TO :- Ma’am Laiba
PROGRAM :- BS (DSWT)-6
COURSE :- Digital Animation & Design
 Adobe Illustrator Design Report
Lab 01: Construction Logo

Creating a professional logo like SAADIFY in Adobe Illustrator involves a strategic workflow,
from geometric construction to advanced coloring.

1. Concept and Grid Construction

The logo is based on an 'S' monogram integrated with a play button symbol, representing
dynamic movement and media.

 Geometric Basis: The shape is constructed using two interlocking "C" shapes or paths to
form a stylized "S".
 Grid System: Use the Line Segment Tool () and Ellipse Tool (L) to create a circular
grid. This ensures that the curves of the "S" are perfectly symmetrical.
 Shape Builder Tool (Shift+M): After creating the overlapping circles, use the Shape
Builder tool to merge specific segments into the continuous flowing body of the "S".

2. Incorporating the Central Icon

The "Play" icon is the focal point of the Advertising Agency’s identity.

 Polygon Tool: Draw a small triangle. Use the Direct Selection Tool (A) to round the
corners slightly for a modern look.
 Alignment: Use the Align Panel to center the triangle perfectly within the middle void
of the "S" shape.

3. Advanced Gradient and Shading

The "3D ribbon" effect is achieved through complex gradients rather than simple flat colors.

 Gradient Tool (G): Apply Linear and Radial Gradients to different segments of the
"S".
 Color Palette: The design uses a high-contrast palette:
o Vibrant Blue (#007AFF to #00C6FF) for the outer arms.
o Warm Orange/Amber (#FF4B2B to #FFB75E) for the inner curves to create
depth.
 Overlapping Shadows: To create the "folding" effect where one part of the ribbon goes
over another, use the Pen Tool (P) to draw small black shapes at the intersections, set
them to Multiply blending mode, and lower the opacity.
4. Typography and Alignment

The text is designed to be clean and highly readable.

 Font Selection: A bold, Geometric Sans-Serif (similar to Montserrat or Gotham) is used

for "SAADIFY".
 Custom Kerning: The letter spacing (tracking) is tightened to make the name feel solid.
 Color Accent: The "Y" is colored in orange to create a visual link back to the logo mark.
 Sub-heading: "ADVERTISING AGENCY" is set in a lighter weight with increased
tracking, centered between two horizontal lines for balance.

5. Final Polishing and Export

 Expanding Paths: Go to Object > Expand to turn all strokes and fonts into shapes. This
prevents the logo from changing appearance when resized.
 Asset Export: The logo is exported in SVG and EPS (vector formats for print) and PNG
(transparent format for digital use).
Lab 02: Vector Image Of Dog

Design Report: Ice Bear Character Illustration

1. Character Construction (The Base)

The character is built using organic, rounded shapes to maintain the "We Bare Bears" aesthetic.

 Pen Tool (P): The entire silhouette is traced or drawn using the Pen Tool. To achieve the
smooth, consistent curves of the head and snout, anchor points are placed strategically at
the "peaks" of each curve.
 Stroke Settings: A solid black stroke is applied. In the Stroke Panel, the Round Cap
and Round Join options are selected to ensure the edges of the lines (like the mouth and
ears) don't look sharp or jagged.

2. Facial Features and Proportions

The simplicity of the face is key to the "deadpan" expression.

 Ellipse Tool (L): The eyes are perfect circles created with the Ellipse tool (holding
Shift). The nose is a wider, horizontal ellipse.
 Path Selection: The mouth is a simple straight path created with the Line Segment Tool
().
 Alignment: To get the perspective right, the features are slightly offset to the left to
indicate the character is facing a three-quarter view.

3. Coloring and Flat Shading

The illustration uses a "Flat-Plus" style, where primary colors are flat but supported by subtle
shadow shapes.

 Live Paint Bucket (K): After closing all paths, the Live Paint Bucket is used to fill the
body with a very light grey/off-white.
 Shading Layer: A darker grey is used for the shadows under the snout and inside the
ears. These aren't gradients; they are solid shapes drawn with the Pen Tool and placed on
a layer behind the main stroke art.
 Background: A large rectangle (M) is placed at the very bottom of the Layers Panel,
filled with a muted tan/khaki color to make the white character pop.

4. Typography (The "Ok" Text)

 Type Tool (T): A clean, handwritten-style sans-serif font is used.

 Text Manipulation: To match the reference, the "O" and "k" might be slightly adjusted
using Character Tracking to increase the space between them, giving it a casual,
nonchalant feel.
  Create Outlines (Shift+Ctrl+O): Once the text is positioned, it is converted to outlines
so it behaves like a vector shape, ensuring it looks the same on any computer.

5. Final Asset Management

 Grouping: The eyes, nose, and mouth are grouped (Ctrl+G) so they can be moved
together.
 Artboard Export: The file is exported via File > Export > Save for Web (Legacy) as a
high-quality PNG to maintain the crispness of the line art without compression artifacts
Lab 03: Vector Image

Design Report: Cartoon Elephant Illustration

1. Base Anatomy and Sketching

The character is designed with exaggerated proportions to emphasize a "cute" aesthetic.

 Geometric Foundations: The head is constructed from a large, slightly squashed circle
using the Ellipse Tool (L).
 Ear Construction: The ears are created as large, sweeping organic paths to balance the
head's size, drawn with the Pen Tool (P) for precise curvature.
 Body and Trunk: The trunk uses a tapered path with internal line segments to indicate
"folds," while the body is kept stout and rounded.

2. Vector Line Art (The Inking Phase)

Clean, consistent line work defines the character's professional finish.

 Stroke Weight: A uniform medium-weight black stroke is applied to all primary

outlines.
 Variable Width Tool (Shift+W): This tool is used on the trunk and tail to taper the
lines, making the vector art feel more hand-drawn and dynamic.
 Stroke Panel: Round Caps and Round Joins are utilized to maintain softness at every
corner and line ending.

3. Coloring and Gradient Shading

The elephant uses a monochrome grey palette enhanced by lighting effects to create a 3D feel.

 Base Fills: The main body is filled with a mid-tone grey.

 Linear Gradients (G): To simulate light hitting the character from the top-right, linear
gradients are applied to the ears and forehead, transitioning from a light grey to a deeper
shade.
 Highlight Details: Small white ellipses are placed on the toes and eyes to simulate
specular highlights, adding "sparkle" and life to the character.

4. Facial Expression and Eye Design

The eyes are the most detailed part of the vector, providing the character's personality.

 Compound Paths: The eyes consist of multiple nested ellipses: a large black base, a
smaller white reflection, and a mid-tone grey iris shape.
  Eyebrows: Simple, high-arched paths are placed above the eyes to give the elephant a
friendly, curious expression.

5. Final Effects and Layout

 Drop Shadow: A subtle Gaussian Blur or Drop Shadow effect (Effect > Stylize) is
applied behind the character to lift it off the background.
 Background Gradient: A soft radial gradient background is used to create a focal point
directly behind the elephant, ensuring it remains the centerpiece of the composition.
Lab 04: Hand Sketch Of Story Boarding

1. Conceptual Narrative

The storyboard follows a professional problem-solving journey, detailing a user's struggle with a
technical interface and the subsequent collaborative resolution.

 Panel 1: The Initial Problem: A user is depicted working at a laptop, showing early
signs of engagement with a task.
 Panel 2: System Error: The focal point is a laptop screen displaying a clear error
message: "UNABLE TO LOG IN".
 Panel 3: Technical Analysis: A conceptual view of a user interface (UI) layout and a
hierarchical organizational chart, indicating a deeper look into the system's architecture.
 Panel 4: Environmental Context: A transition shot showing characters moving through
a physical office space (stairwell), representing the movement toward help.
 Panel 5: Collaboration: Two characters are shown in a face-to-face meeting, sharing a
document or tablet to discuss a solution.
 Panel 6: Final Design/Review: A close-up "over-the-shoulder" perspective showing a
finalized grid of UI components being reviewed or edited with a stylus/pen
Lab 05: Tracing Of Hand Sketch On Illustrator

Adobe Illustrator Workflow

The transition from rough hand sketches to professional vector storyboard panels involves
several key Illustrator tools:

 Image Trace & Template Layers: The original hand sketches were placed on a
Template Layer with 50% opacity to act as a tracing guide.
 Pen Tool (P) & Blob Brush (Shift+B): To maintain the "hand-drawn" feel while
ensuring scalability, the Blob Brush was used for organic character outlines, while the
Pen Tool handled structured elements like the "Log In" screen.
 Artboard Management: Six individual artboards were used to organize each frame,
ensuring consistent sizing for final export.
 Grayscale Shading: To focus on the narrative rather than color, a grayscale palette was
applied using Global Swatches, allowing for quick adjustments to lighting and depth
across all panels.

. Final Objective

The primary goal of this storyboard is to visualize the User Journey, identifying pain points (the
login error) and highlighting the human element of technical support and collaborative design.
 Adobe Photoshop Report
Lab 06: Liquify & Facial Manipulation

The Liquify Filter in Adobe Photoshop is one of the most powerful tools for reshaping and
distorting image pixels. It acts like digital clay, allowing you to push, pull, rotate, reflect, pucker,
and bloat any area of an image. It is widely used in portrait retouching, fashion photography, and
surreal digital art.

🛠️Key Tools within the Liquify Interface

When you open the Liquify workspace (Filter > Liquify or Shift+Ctrl+X), you gain access to a
specialized toolbar on the left.

Tool Shortcut Function

Forward W Pushes pixels forward as you drag. Ideal for reshaping body contours
Tool Shortcut Function

Warp or hair.

Gradually reverses any distortions you’ve made, returning pixels to

Reconstruct R
their original state.

Pulls pixels toward the center of the brush, making areas appear
Pucker S
smaller or thinner.

Pushes pixels away from the center, making areas appear larger or
Bloat B
more inflated.

Moves pixels to the left when dragging up and to the right when
Push Left O
dragging down.

Paints a protective "mask" over areas you do not want to be affected

Freeze Mask F
by the liquifying process.

Automatically detects facial features, allowing you to adjust eyes,

Face-Aware A
nose, and mouth via sliders.

⚙️Brush Controls & Settings

Precision in Liquify depends on how you configure your brush in the Properties Panel on the
right.

 Size: Controls the area of influence. It is often best to use a brush slightly larger than the
object you are moving for smoother results.
 Density: Similar to "Hardness." A higher density affects more pixels toward the edge of
the brush; a lower density feathers the effect toward the center.
 Pressure: Determines the speed of the distortion. Lower pressure (e.g., 20-30%) is
recommended for subtle, natural adjustments.
📑 Professional Workflow Guide
1. Non-Destructive Setup: Before opening Liquify, right-click your layer and select
Convert to Smart Object. This allows you to go back and tweak your edits later without
losing quality.
2. Masking: Use the Freeze Mask Tool (F) to protect important details (like the road's
edge or a person's eyes) from accidental distortion.
3. Broad Strokes First: Use the Forward Warp Tool with a large brush and low pressure
for general reshaping.
4. Refine Details: Switch to smaller brushes for specific fixes, like smoothing out wrinkles
in clothing or adjusting individual strands of hair.
5. The "Check" Step: Toggle the Preview checkbox or the "P" key to see a before-and-
after comparison. If it looks "warped" or "liquid," use the Smooth Tool (E) or
Reconstruct Tool (R) to fix it.

Lab 07: Image Replication

🛠️Step-by-Step Report: Replicating Cars
1. Preparation

 Layer Management: Never work directly on the "Background" layer. Create a new
empty layer (Ctrl+Shift+N / Cmd+Shift+N) and name it "Car Replication."
 Tool Selection: Select the Clone Stamp Tool (S) from the toolbar.
 Sample Settings: In the top options bar, ensure Sample is set to "All Layers" or
"Current & Below." This allows you to paint on your new empty layer while pulling
data from the original photo.

2. Setting the Source Point

 Brush Setup: Choose a Soft Round Brush. Set the Hardness to about 20-30% to ensure
the edges of the duplicated car blend naturally with the new pavement area.
 Targeting: Hover over the car you want to copy. Hold Alt (Windows) or Option (Mac)
—the cursor will turn into a target icon. Click once on a distinct part of the car (like the
front headlight or the center of the roof) to set the source.

3. Executing the Replication

  Alignment: Move your cursor to the new section of the road where you want the car to
appear.
 Painting: Click and drag to begin "painting" the car. You will see a crosshair (+) over the
original car; this shows you exactly what area is being copied.
 Refining: If the lighting looks slightly different in the new spot, lower the Opacity of
your brush to about 80% and build the car up slowly, or use the Healing Brush Tool
afterward to match the textures.

Lab 8: Black and White Techniques

🛠️Key Adjustment Types and Their Functions
The most common adjustments are located in the Adjustments Panel (Window > Adjustments)
or via the New Fill or Adjustment Layer icon at the bottom of the Layers panel.

1. Tonal Adjustments (Light and Dark)

 Brightness/Contrast: Provides a simple way to adjust the overall lightness and range of
tones.
 Levels: Allows you to fine-tune shadows, midtones, and highlights using a histogram.
You can fix underexposed images by dragging the white slider toward the histogram's
edge.
 Curves: Offers the most precise control over brightness and contrast by letting you adjust
any specific point along the tonal range.

2. Color Adjustments

 Hue/Saturation: Changes the overall color (Hue), the intensity of colors (Saturation),
and how light or dark they appear (Lightness).
  Black & White: Converts a color image into a customized monochrome version by
allowing you to control the brightness of individual color channels (e.g., darkening a blue
sky).
 Color Balance: Adjusts the mixture of colors in an image to correct color casts or add
creative tints.

📑 Workflow Guide for Using Adjustments

To maintain high image quality and flexibility, follow this professional workflow:

1. Select the Target Layer: Ensure your main photo layer is selected in the Layers panel
before applying an adjustment.
2. Add the Adjustment Layer: Click an icon in the Adjustments panel. This creates a new
layer above your image, which affects everything beneath it.
3. Refine Settings: Use the Properties Panel to move sliders. For example, in
Brightness/Contrast, you can click "Auto" to let Photoshop suggest initial settings.
4. Target with Masking: Every adjustment layer comes with a built-in Layer Mask. Use a
black brush on the mask to hide the adjustment from specific parts of the image (e.g.,
keeping a subject bright while darkening the background).
5. Control Intensity: Lower the Opacity of the adjustment layer if the effect feels too
strong.

Lab 9: Color Adjustment & Selection Techniques

1. Tonal Range Breakdown

Color Balance allows for granular control by targeting three distinct areas:

 Shadows: Focuses on the darkest pixels (e.g., deep shadows in the trees of your
mountain image).
 Midtones: Focuses on the medium-gray values (e.g., the road and general foliage).
 Highlights: Focuses on the brightest areas (e.g., the sky and sunlit patches on the grass).

Lab 10: Image Replication

The primary objective of this project was to mathematically replicate a single vector object
(a star) around a central focal point (a circle) to create a symmetrical, "stamp-like"
pattern.

1. Construction Process

The design utilizes precise radial symmetry through the following workflow:

 Base Object Creation: A solid black circle was created as the anchor point, with a
single star shape placed at the 12 o'clock position using the Star Tool.
 Defining the Rotation Point: By selecting the star and then choosing the Rotate Tool
(R), the rotation anchor was manually moved from the center of the star to the exact
center of the black circle.
 Mathematical "Stamping": To achieve the 12-star distribution, a rotation angle of
30° ($360/12$) was applied. Using the Alt + Click command (Windows) or Option +
Click (Mac), the first "stamp" or copy was created.
 Command Transform (Ctrl+D): The remaining stars were generated using the
Transform Again shortcut, which functions as a digital stamp tool to repeat the
exact previous movement and placement ten more times.

2. Alignment and Precision

 Align Panel: To ensure the stars did not drift, the Horizontal Align Center and
Vertical Align Center tools were utilized to lock the star's path to the circle's radius.
 Smart Guides: Smart Guides (Ctrl+U) were enabled to provide real-time feedback
when the rotation anchor was perfectly aligned with the circle's center point.

3. Technical Conclusion

By combining the Rotate Tool with the Transform Again command, Illustrator allows for
"stamping" complex patterns with perfect mathematical accuracy. This technique is
essential for creating badges, seals, and radial UI components.
Lab 11: Multi-Artboard Replication Report

1. Project Workspace Configuration

To manage the replication of assets effectively, the workspace was configured with a
specific grid of artboards.

 Artboard Layout: A total of seven artboards were created and arranged in a 3x2
grid with an additional frame below, providing a clear sequence for narrative or
design variations.
 Organization: The Artboards Panel was utilized to track the active frame, ensuring
that the master element was selected from the correct starting artboard before
replication.

2. The "Stamp" Replication Process

While Illustrator does not have a single "Stamp Tool" for artboards, the same functional
result is achieved through a specific command sequence that replicates an object across
every workspace instantly.

 Selection: The black rectangular placeholder (the "master" asset) was selected on
the first artboard.
 Global Replication: The command Paste on All Artboards (Alt + Shift + Ctrl + V)
was executed.
 Outcome: This functioned as a digital stamp, placing the selected object in the exact
same X and Y coordinates on all seven artboards simultaneously, ensuring 100%
positional accuracy.

3. Applications in Storyboarding

This replication technique is critical for the development of the 6-panel storyboard project.

 Frame Consistency: By "stamping" the border frame and the background elements
(like the desk or laptop silhouette) across all panels, the designer ensures the user's
focus remains on the changing narrative (e.g., the "Unable to Log In" error) rather
than shifting backgrounds.
 Character Alignment: For characters like the Elephant, the base body can be
"stamped" across multiple artboards, allowing the designer to focus solely on
changing eye reactions on each frame.

4. Workflow Efficiency Summary

Action Purpose Result

Workspace
Setup Artboards Created a 7-frame sequence for the project.
definition
Paste on All Technical Instantly replicated the master asset across the
Action Purpose Result
Artboards "Stamping" entire project.
Linked all replicated stamps so a single update
Symbol Integration Asset Management
changes every artboard.

Lab 13: Color Adjustment & Selection Techniques

The primary goal was to enhance the visual quality of a raw portrait by correcting color imbalances and
improving tonal depth. The "Before" image exhibits a cool, slightly desaturated, and flat tone, while the
"After" version demonstrates a warmer, more vibrant, and balanced aesthetic.

2. Technical Workflow and Adjustments

The adjustment process involved several key non-destructive editing techniques:

 Non-Destructive Layering: The software interface shows a dedicated "Color Corrected" layer
placed above the "Primary" layer, ensuring the original image data remains preserved.

 White Balance and Temperature: A significant shift toward warmer tones was applied to the
"After" version, specifically improving the natural appearance of the subject's skin tones and the
straw hat.

 Vibrance and Saturation: The colorful patterns on the subject's clothing and the background
elements were boosted to make the image more visually engaging without over-saturating the
skin.

 Contrast and Tonal Range: The shadows were deepened and highlights were softened to create
a more dynamic range, giving the subject more "pop" against the blurred background.

3. Software Interface and Tools

The editing was conducted in a professional environment featuring several critical tools for precision:

 Layers Panel: Used for organizing the correction and primary background layers.

 History and Navigation: The interface includes a navigator for zoomed-in precision work and a
history state to track changes.

 Patterns and Swatches: Side panels indicate that specific color patterns or swatches were
available for reference to ensure color accuracy.
Lab 14 : GIF Animation
1. Introduction
This project focuses on creating frame-by-frame GIF animations by integrating Adobe Illustrator
for asset creation and Adobe Photoshop for sequencing. The goal was to transform static designs
into fluid motion using professional digital tools.
2. Creative Process
The workflow utilized a multi-software approach for high-quality transitions:
 Asset Creation: 4 individual frames were designed in Adobe Illustrator to capture the
stages of flight for the bird.
 Sequencing: Vector frames were imported into Adobe Photoshop as layers.
 Animation: The Timeline Panel was used to convert these layers into a frame-by-frame
sequence.
 Fine-Tuning: Frame delays were adjusted to ensure motion appeared natural and
consistent.
3. Animation Descriptions
 Running Boy GIF: Features a character in a continuous running cycle achieved by
shifting limb positions across frames for smooth momentum.
 Flying Bird GIF: A silhouette animation depicting a realistic wing-flap sequence from
upward extension to downward stroke.
4. Tools Used
 Adobe Illustrator: Used for designing the 10-frame bird sequence with precise vector
control.
 Adobe Photoshop: Primary tool for managing the animation timeline and frame
durations.
 Timeline Panel: Used to manage layer visibility and create the frame-by-frame loop.
 Export (Save for Web): Used to optimize and export final looping GIF files.
