ADOBE® ILLUSTRATOR® Help and tutorials February 2013
Contents What’s New ...................................................................................................................................................1 What's new in CS6..................................................................................................................................................................2 Improved User Interface...........................................................................................................................................
Painting......................................................................................................................................................174 About painting......................................................................................................................................................................175 Painting with fills and strokes.......................................................................................................................................
Scaling and rotating type.....................................................................................................................................................329 Spelling and language dictionaries......................................................................................................................................330 Fonts.............................................................................................................................................................
Graphs.......................................................................................................................................................473 Graphs.................................................................................................................................................................................474 Keyboard shortcuts....................................................................................................................................
What’s New 1
What's new in CS6 Adobe Mercury Performance System Improved user interface Simplified Workflows Patterns Gradient on a stroke Image Trace Gaussian Blur New or improved profiles and components To the top Adobe Mercury Performance System The Adobe Mercury Performance system is a combination of solutions that makes Illustrator faster, more responsive, and able to handle larger files. 64-bit native support Makes general processing faster on 64-bit Macintosh and Windows operating systems.
To create a pattern using existing artwork or from scratch, choose Object > Pattern > Make. The new pattern is added to the Swatches panel. To edit a pattern, double-click the pattern in the Swatches panel or select the object containing the pattern, and choose Object > Pattern > Edit Pattern. When you create or edit a pattern, you enter the pattern editing mode, similar to the symbol editing mode.
New Pattern and new Pantone Plus™ color libraries have been added. For more information, view the video on enhanced startup profiles and other changes, by Lynda.com Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Improved user interface Improved and efficient user interface User interface color and brightness Panels The new user interface framework leverages performance enhancements and advantages like native 64-bit support to render a cleaner interface, enabling a better user experience. Also, important additions and modifications to the user interface and workflows make working with Illustrator an efficient experience. To the top Improved and efficient user interface Efficient and flexible interface.
User interface color and brightness Illustrator, by default, is now available with a dark theme, which is in line with recent changes in other products like Adobe Photoshop. This theme enables a a more pleasant visual experience, especially while working with rich colors and designs. Configurable user interface theme You can easily vary the brightness of the user interface to a tone you prefer from the User Interface tab in the Preferences dialog (Ctrl + K).
Transform panel, with the additional Scale Strokes & Effects option Transparency panel. Masking features are now available in the Transparency panel. Use the Make Mask / Release toggle switch to create opacity masks and work with them more easily. Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Using Image Trace | CS6 Using Image Trace Tracing options Release a tracing object If you want to base a new drawing on an existing piece of artwork, you can trace it. For example, you can create a graphic based on a pencil sketch drawn on paper. Or, import a raster image saved in another graphics program, and trace over it. The easiest way to trace artwork is to open or place a file into Illustrator, and automatically trace the artwork with the Image Trace command.
Mode Specifies a color mode for the tracing result. Palette Specifies a palette for generating a color or grayscale tracing from the original image. (This option is available only when Mode is set to Color or Grayscale.) To let Illustrator determine the colors in the tracing, select Automatic.To use the document swatches as a palette for the tracing, select Document Library.
Arabic and Hebrew type Adobe World-Ready Composers Text direction Digit Types Legacy font support Default fonts Automatic Kashida insertion Ligatures Copy-paste from Microsoft Word Hyphenation Find and replace Diacritical marks Glyphs New and improved features for working in Arabic and Hebrew are available in the Middle East and North African edition of this software. To the top Adobe World-Ready Composers Adobe World-Ready composers enable you to create content in middle-eastern languages.
To create content in Arabic and Hebrew, enable right-to-left (RTL) text direction. While RTL is the default direction of text, many documents also include left-to-right (LTR) text. You can seamlessly switch between the two directions. Select the paragraph direction from the Paragraph panel. Paragraph direction selection If you have a mix of languages in the same paragraph, you can specify the direction of text at a character level.
To the top Legacy font support Fonts that have been traditionally used (for example, AXT fonts) can continue to be used in this release of the software. However, it is recommended that newer Open Type fonts be used for text-based elements. Missing Glyph Protection (Edit > Preferences > Advanced Type) is enabled by default. Text is handled automatically, where glyphs are not available in the font you are using.
Enable automatic ligatures To the top Copy-paste from Microsoft Word You can copy text from Microsoft Word, and paste it directly into a document. The pasted text's alignment and direction is automatically set to that of the arabic or hebrew text. To the top Hyphenation Sentences that have more words that can fit into one line of text automatically wrap into the next line.
Illustrator: Edit > Find and Replace In InDesign, you can use the Transliterate tab (Edit > Find/Change) to find and replace digits between Arabic, Hindi, and Farsi. For example, you can find digits typed in Hindi and convert them to Arabic. To the top Diacritical marks In the Arabic script, a diacritic or a diacritical mark is a glyph used to indicate consonant length or short vowels. A diacritical mark is placed above or below the script.
What’s new in CS5 Perspective drawing Beautiful strokes Bristle brush Crisp graphics for web and mobile devices Multiple artboards enhancements Shape Builder tool Drawing enhancements Roundtrip editing with Adobe Flash Catalyst CS5 Resolution Independent Effects Adobe Illustrator CS5 provides precision and power with sophisticated drawing tools, expressive lifelike brushes, a host of time-savers, and integration with Adobe CS Live* online services.
Define the scaling for art and pattern brushes along a path. Choose areas of the brush stroke to be resized in proportion. For example, you can elongate the middle of a banner, while keeping the detailed, curly ends from stretching. Brushes with corner control Apply art and pattern brushes to a path and get clean results, even at tight bends or corners. Where strokes of different widths join, or they form obtuse or acute angles, choose options to properly fill points where joins occur.
Path join enhancement Join open paths in a single keystroke with objects selected. You can also choose to join open paths using corner joins or smooth joins. See Join two or more paths. Select behind capability Use a keyboard shortcut to easily select an individual object located behind other objects. See Select behind objects. Draw behind and draw inside modes Draw behind other objects without choosing layers or setting the stacking order. Draw or place an image inside a shape, including live text.
Getting Started tutorials To learn more, view these recommended resources online. Learn Illustrator CS6 video tutorials Lynda.com (Apr. 30, 2010) article Learn the basics of Adobe Illustrator with this great collection of video tutorials by product experts. Sneak Peek: Pattern Creation (video 3:23) Brenda Sutherland (Product Manager, Adobe Illustrator CS6) (Mar.
Getting Started: What is Illustrator CS5? (video 1:53) Mordy Golding and Lynda.com (Apr. 30, 2010) video-tutorial Learn about Illustrator, a versatile, out-of-the-box solution for creating vector graphics. Illustrator supports cross-media design and multiple graphics formats, and provides endless options to create lifelike designs and artwork. Using the new Artboards panel (video 4:20) Mordy Golding and Lynda.com (Apr.
Clipping masks About clipping masks Drawing Enhancements Illustrator CS5 Hide parts of objects with a clipping mask Create a clipping mask for a group or layer Edit a clipping mask Edit paths within a clipping set Add or remove an object from masked artwork Release objects from a clipping mask To the top About clipping masks A clipping mask is an object whose shape masks other artwork so that only areas that lie within the shape are visible—in effect, clipping the artwork to the shape of the mask.
Create a clipping mask for a group or layer 1. Create the object you want to use as the mask. This object is called the clipping path. Only vector objects can be clipping paths. 2. Move the clipping path and the objects you want to mask into a layer or group. 3. In the Layers panel, make sure that the masking object is at the top of the group or layer, and then click the name of the layer or group. 4.
Drawing pixel-aligned paths for web workflows Aligning new objects to pixel grid Aligning existing objects to pixel grid Aligning symbols to pixel grid Viewing the pixel grid Saving selected slices Anti-aliasing options Pixel-aligned is an object level property, which enables an object to have its vertical and horizontal paths aligned to the pixel grid. This property remains with the object when the object is modified.
possibility of such strokes producing anti-aliased results. Objects that are pixel-aligned, but do not have any straight vertical or horizontal segments, are not modified to align to the pixel grid. For example, because a rotated rectangle does not have straight vertical or horizontal segments, it is not nudged to produce crisp paths, when the pixel-aligned property is set for it. Note: The document level property and pixel-aligned status of each object are saved in the .ai file.
Sharp Crisp Strong Text anti-aliasing options in the Character panel You can set anti-aliasing options for each text frame. These text anti-aliasing attributes get saved as part of the document. These options are also supported for PDF, AIT, and EPS formats. Text anti-aliasing options can be exported to or imported from PSD. While exporting to BMP, PNG, Targa, JPEG, or TIFF formats the following options are available in the anti-aliasing drop-down list: None, Art Optimized and Type Optimized.
Editing paths Select paths, segments, and anchor points Adding and deleting anchor points Smooth and simplify paths Convert between smooth points and corner points Erase artwork Split a path To the top Select paths, segments, and anchor points Before you can reshape or edit a path, you need to select the path’s anchor points, segments, or a combination of both. Select anchor points If you can see the points, you can click them with the Direct Selection tool points. to select them.
Note: Don’t use the Delete and Backspace keys or the Edit > Cut and Edit > Clear commands to delete anchor points: these keys and commands delete the point and the line segments that connect to that point. Add or delete anchor points 1. Select the path you want to modify. 2. To add an anchor point, select the Pen tool or the Add Anchor Point tool, position the pointer over the path segment, and click. 3.
Simplifying a path removes extra anchor points without changing the shape of the path. Removing unnecessary anchor points simplifies your artwork, reducing the file size, and making it display and print faster. 1. Select the object. 2. Choose Object > Path > Simplify. 3. Set the Curve Precision to control how closely the simplified path follows the original path. Select Preview to show a preview of the simplified path and list the number of points in the original and simplified paths. 4.
Clicking a smooth point to create a corner point To convert a smooth point to a corner point with independent direction lines, drag either direction point. Converting a smooth point to a corner point To convert a corner point without direction lines to a corner point with independent direction lines, first drag a direction point out of a corner point (making it a smooth point with direction lines).
2. Select the Eraser tool . 3. (Optional) Double-click the Eraser tool and specify options. 4. Drag over the area you want to erase. You can control the tool by doing any of the following: To constrain the Eraser tool to a vertical, horizontal, or diagonal line, Shift-drag. To create a marquee around an area and erase everything inside the area, Alt-drag (Windows) or Option-drag (Mac OS). To constrain the marquee to a square, Alt-Shift-drag (Windows) or Option-Shift-drag (Mac OS).
More Help topics Legal Notices | Online Privacy Policy 30
Painting with fills and strokes Painting methods About fills and strokes Apply a fill color to an object Draw and merge paths with the Blob Brush tool Convert strokes to compound paths Remove the fill or stroke from an object Select objects with the same fill and stroke Create multiple fills and strokes Create strokes with variable widths To the top Painting methods Illustrator provides two methods of painting: assigning a fill, stroke, or both to an entire object, and converting the object to a Live Pai
www.adobe.com/go/vid0038. To the top About fills and strokes A fill is a color, pattern, or gradient inside an object. You can apply fills to open and closed objects and to faces of Live Paint groups. A stroke can be the visible outline of an object, a path, or the edge of a Live Paint group. You can control the width and color a stroke. You can also create dashed strokes using Path options, and paint stylized strokes using brushes.
Path created with a Calligraphy brush (left); path created with the Blob Brush tool (right) To see a video on using the Blob Brush tool, see www.adobe.com/go/lrvid4018_ai. To see an example of using the Blob Brush to create a complex drawing, see www.adobe.com/go/learn_ai_tutorials_blob_brush_en. Blob Brush tool guidelines When using the Blob Brush tool, keep the following guidelines in mind: To merge paths, they must be adjacent in stacking order.
2. Click the Fill box or the Stroke box in the Tools panel. Doing so indicates whether you want to remove the object’s fill or its stroke. 3. Click the None button in the Tools panel, the Color panel, or the Swatches panel. Note: You can also click the None icon in the Fill menu or the Stroke Color menu in the Control panel. Fill and Stroke boxes A. Fill box B. Stroke box C.
Using the Width tool To create or modify a width point using the Width Point Edit dialog box, double-click the stroke using the Width tool and edit the values for the width point. If you select the Adjust Adjoining Width Points option, changes to the selected width point affect neighboring width points as well. If you press Shift and double-click the width point, then this check box is selected automatically.
Width Point Edit dialog box for discontinuous points The Single Width Only check boxes allow using either incoming or outgoing width leaving a single continuous width point.
profile from an object. To restore the default width profile set, click the Reset Profiles button at the bottom of the Profile drop down list. Note: Restoring the default width profile set in the Stroke Options dialog box, removes any custom saved profiles. If you apply a variable width profile to a stroke, then it is indicated with an asterisk (*) in the Appearance panel.
Workspace 38
Workspace basics Workspace overview Search For Help box About screen modes Using the status bar Enter values in panels and dialog boxes Control panel overview To the top Workspace overview You create and manipulate your documents and files using various elements, such as panels, bars, and windows. Any arrangement of these elements is called a workspace. The workspaces of the different applications in Adobe® Creative Suite® 5 share the same appearance so that you can move between the applications easily.
multiple monitors. If you are using a Mac and prefer the traditional, free-form user interface, you can turn off the Application frame. In Adobe Illustrator®, for example, select Window > Application Frame to toggle it on or off. (In Flash, the Application frame is on permanently for Mac, and Dreamweaver for Mac does not use an Application frame.
current tool in use current artboard in use navigation controls for multiple artboards date and time number of undos and redos available document color profile status of a managed file Click the status bar to do any of the following: Change the type of information displayed in the status bar by selecting an option from the Show submenu. Show the current file in Adobe Bridge by choosing Reveal In Bridge.
To the top Control panel overview The Control panel offers quick access to options related to the objects you select. By default, the Control panel is docked at the top of the workspace. Options displayed in the Control panel vary depending on the type of object or tool you select. For example, when you select a text object, the Control panel displays text-formatting options in addition to options for changing the color, placement, and dimensions of the object.
Customizing the workspace Manage windows and panels Use panel menus Rename or duplicate a workspace Save and switch workspaces To the top Manage windows and panels You can create a custom workspace by moving and manipulating Document windows and panels. You can also save workspaces and switch among them. For Fireworks, renaming custom workspaces can lead to unexpected behavior. Note: The following examples use Photoshop for demonstration purposes. The workspace behaves the same in all the products.
Navigator panel being dragged out to new dock, indicated by blue vertical highlight Navigator panel now in its own dock You can prevent panels from filling all the space in a dock. Drag the bottom edge of the dock up so it no longer meets the edge of the workspace. Move panels As you move panels, you see blue highlighted drop zones, areas where you can move the panel. For example, you can move a panel up or down in a dock by dragging it to the narrow blue drop zone above or below another panel.
To remove a panel, right-click (Windows) or Control-click (Mac) its tab and then select Close, or deselect it from the Window menu. To add a panel, select it from the Window menu and dock it wherever you want. Manipulate panel groups To move a panel into a group, drag the panel’s tab to the highlighted drop zone in the group. Adding a panel to a panel group To rearrange panels in a group, drag a panel’s tab to a new location in the group.
Panels collapsed to icons Panels expanded from icons To collapse or expand all panel icons in a column, click the double arrow at the top of the dock. To expand a single panel icon, click it. To resize panel icons so that you see only the icons (and not the labels), adjust the width of the dock until the text disappears. To display the icon text again, make the dock wider. To collapse an expanded panel back to its icon, click its tab, its icon, or the double arrow in the panel’s title bar.
Panel menu (Symbols panel) To the top Rename or duplicate a workspace 1. Choose Window > Workspace > Manage Workspaces. 2. Do any of the following, and then click OK: To rename a workspace, select it, and edit the text. To duplicate a workspace, select it, and click the New button. For a video on customizing the workspace based on different workflows, see www.adobe.com/go/vid0032_en.
Delete a custom workspace Select Manage Workspaces from the workspace switcher in the Application bar, select the workspace, and then click Delete. (The option is not available in Fireworks.) (Photoshop, InDesign, InCopy) Select Delete Workspace from the workspace switcher. (Illustrator) Choose Window > Workspace > Manage Workspaces, select the workspace, and then click the Delete icon. (Photoshop, InDesign) Choose Window > Workspace >Delete Workspace, select the workspace, and then click Delete.
Tools Tools panel overview Select a tool Change tool pointers To the top Tools panel overview The first time you start the application, the Tools panel appears at the left side of the screen. You can move the Tools panel by dragging its title bar. You can also show or hide the Tools panel by choosing Window > Tools. You use tools in the Tools panel to create, select, and manipulate objects in Illustrator. Some tools have options that appear when you doubleclick a tool.
Move the Tools panel Drag its title bar. View the Tools panel in double-stack or single-column Click the double-arrow on the title bar to toggle between double-stack and single-column view of the Tools panel. Hide the Tools panel Choose Window > Tools. Tear off hidden tools into a separate panel Drag the pointer over the arrow at the end of the hidden tools panel and release the mouse button. Close a separate tool panel Click the close button on the panel’s title bar.
Tool galleries Selection tool gallery Drawing tool gallery Type tool gallery Painting tool gallery Reshaping tool gallery Symbolism tool gallery Graph tool gallery Moving and zooming tool gallery Illustrator provides many tools for creating and manipulating your artwork. These galleries provide a quick visual overview for each tool. To the top Selection tool gallery Illustrator provides the following selection tools: The Selection tool (V) selects entire objects.
The Pen tool (P) draws straight and curved lines to create objects. See Drawing with the Pen tool. The Add Anchor Point tool (+) adds anchor points to paths. See Adding and deleting anchor points. The Delete Anchor Point tool () deletes anchor points from paths. See Adding and deleting anchor points. The Convert Anchor Point tool (Shift+C) changes smooth points to corner points and vice versa. See Convert between smooth points and corner points.
To the top Type tool gallery Illustrator provides the following type tools: The Type tool (T) creates individual type and type containers and lets you enter and edit type. See Enter text in an area. The Area Type tool changes closed paths to type containers and lets you enter and edit type within them. See Enter text in an area. The Vertical Area Type tool changes closed paths to vertical type containers and lets you enter and edit type within them. See Enter text in an area.
paints faces and edges of Live Paint groups with the current paint attributes. See Paint with the Live Paint Bucket tool. L)tool selects faces and edges within Live Paint groups. See Select items in Live Paint groups. the distance between two points. See Measure the distance between objects. B)draws paths that automatically expand and merge calligraphic brush paths that share the same color and are adjacent in stacking order. See Draw and merge paths with the Blob Brush tool.
curved details to the outline of an object. See Distort objects using a liquify tool. random spiked details to the outline of an object. See Distort objects using a liquify tool. like details to the outline of an object. See Distort objects using a liquify tool. The Shape Builder tool merges simple shapes to create custom, complex shapes. See Building new shapes using the Shape Builder tool. To the top Symbolism tool gallery The symbolism tools let you create and modify sets of symbol instances.
The Line Graph tool creates graphs that use points to represent one or more sets of values, with a different line joining the points in each set. This type of graph is often used to show the trend of one or more subjects over a period of time. The Area Graph tool creates graphs that are similar to line graphs, but emphasizes totals as well as changes in values. The Scatter Graph tool creates graphs that plot data points as paired sets of coordinates along the x and y axes.
Improved user interface Improved and efficient user interface User interface color and brightness Panels The new user interface framework leverages performance enhancements and advantages like native 64-bit support to render a cleaner interface, enabling a better user experience. Also, important additions and modifications to the user interface and workflows make working with Illustrator an efficient experience. To the top Improved and efficient user interface Efficient and flexible interface.
User interface color and brightness Illustrator, by default, is now available with a dark theme, which is in line with recent changes in other products like Adobe Photoshop. This theme enables a a more pleasant visual experience, especially while working with rich colors and designs. Configurable user interface theme You can easily vary the brightness of the user interface to a tone you prefer from the User Interface tab in the Preferences dialog (Ctrl + K).
Transform panel, with the additional Scale Strokes & Effects option Transparency panel. Masking features are now available in the Transparency panel. Use the Make Mask / Release toggle switch to create opacity masks and work with them more easily. Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Slicing and cutting tool gallery Illustrator provides the following tools for slicing and cutting objects: The Slice tool divides artwork into separate web images.Create slices The Slice Selection tool (ShiftK) selects web slices. See Select slices The Eraser tool (Shift-E) erases any area of the object over which you drag. See Erase objects using the Eraser tool The Knife tool cuts objects and paths. See Cut objects with the Knife tool.
Artboard overview Using Artboards Panel Printing and saving artboards Artboards represent the regions that can contain printable artwork. You resize and set the orientation for your artwork by choosing settings in the Artboard Options dialog box. (In Illustrator CS3 and earlier, you use the Document Setup dialog box to change the document size and orientation.) You can use artboards as crop areas for printing or placement purposes—they work the same way as crop areas work in Illustrator CS3.
as a separate file, along with a master file that includes all artboards merged. Illustrator CS4 allowed you to save artboards as separate files only when downsaved, but in Illustrator CS5, you can save individual artboards for current versions as well. The options to save each artboard as a separate .ai file is available in the Illustrator Options dialog box. You can preview artboards from the print dialog box before printing them.
Files and templates About new document profiles Create new documents About templates Create a new template Specify document setup options Open a file Browse for files using Adobe Bridge To the top About new document profiles A document is the space in which you create artwork. In Illustrator, you can create documents destined for many different types of output. (For information on creating Illustrator documents for video production, see the Enhancing Video Production PDF at www.adobe.
Create a new document You can start a new document from the Welcome screen or from the File menu. 1. Do one of the following: If Illustrator is already open, choose File > New and from New Document Profile select the required document profile. If the Welcome screen is open, click a document profile from the Create New list. If Illustrator is not open, open it and click a document profile from the Create New list in the Welcome screen.
To the top About templates Templates let you create new documents that share common settings and design elements. For example, if you need to design a series of business cards with a similar look and feel, you can create a template with the desired artboard size, view settings (such as guides), and print options. The template can also contain symbols for common design elements (such as logos) and specific sets of color swatches, brushes, and graphic styles.
Choose File > Browse In Bridge. Click the Adobe Bridge icon in the Control panel. Choose Reveal In Bridge from the status bar. From Adobe Bridge, you can do any of the following: Manage image, footage, and audio files: Preview, search, sort, and process files in Bridge without opening individual applications. You can also edit metadata for files, and use Bridge to place files into your documents, projects, or compositions.
Recovery, undo, and automation Undo and redo changes Revert to the last saved version Automating tasks To the top Undo and redo changes The Undo and Redo commands let you undo or redo operations, allowing you to correct mistakes as you work. You can undo or redo an operation after you select the Save command (but not if you have closed and then reopened the file). Choose Edit > Undo or Edit > Redo.
Rulers, grids, guides, and crop marks Use rulers Change the unit of measurement Use the grid Use guides Smart Guides Measure the distance between objects Info panel overview To the top Use rulers Rulers help you accurately place and measure objects in the illustration window or in an artboard. The point where 0 appears on each ruler is called the ruler origin. In Illustrator CS5, rulers are similar to other Creative Suiteapplications like InDesign and Photoshop.
Note: The “General” measurement option affects rulers, measuring the distance between points, moving and transforming objects, setting grid and guides spacing, and creating shapes. To set the general unit of measurement for the current document only, choose File > Document Setup, choose the unit of measure you want to use from the Units menu, and click OK.
guides. Important: When snapping to a point, the snapping alignment depends on the position of the pointer, not the edges of the dragged object. 3. Drag the object to the desired location. When the pointer comes within 2 pixels of an anchor point or guide, it snaps to the point. The pointer changes from a filled arrowhead to a hollow arrowhead when a snap occurs. To the top Smart Guides Smart Guides are temporary snap-to guides that appear when you create or manipulate objects or artboards.
2. Do one of the following: Click the two points to measure the distance between them. Click the first point and drag to the second point. Shift-drag to constrain the tool to multiples of 45°. The Info panel shows the horizontal and vertical distances from the x and y axes, the absolute horizontal and vertical distances, the total distances, and the angle measured.
Setting preferences About preferences Setting Illustrator preferences About plug-in modules To the top About preferences Preferences are options regarding how you want Illustrator to work, including those for display, tools, ruler units, and exporting information. Your preferences are saved in a file called AIPrefs (Windows) or Adobe Illustrator Prefs (Mac OS), which is launched each time you start Illustrator. Open a preferences dialog box 1.
\Users\\AppData\Roaming\Adobe\Adobe Illustrator CS5 Settings\en_US*\AIPrefs. 1 Note: In Windows XP, the Application Data folder is hidden by default. The same is true for the AppData folder in Windows Vista and Windows 7. To make this folder visible, open Folder Options in Control Panel and click the View tab. In the Advanced Settings pane, select theShow Hidden Files and Folders or Show hidden files, folders, or drives option.
Using multiple artboards Artboard options Artboards panel Create an artboard Delete an artboard Select and view artboards Edit artboards Move an artboard Reorder artboards Rearrange artboards Customize artboard names 9-point referencing Display artboard rulers, center mark, crosshairs, or safe area To the top Artboard options You open the Artboard Options dialog box by double-clicking the Artboard tool in the Control panel.
Artboards panel A. Up Arrow B. Down Arrow C. Add new artboards D. Delete artboards To access the Artboards panel, click Window > Artboards. To add artboards, do any one of the following: Click the New Artboard icon at the bottom of the Artboards panel. Select the New Artboard option from the Artboards panel menu (flyout menu) of the Artboards panel. To delete a single artboard or multiple artboards, do the following: Select the artboard to delete.
To the top Delete an artboard Click the artboard and press Delete, click Delete delete all but the last remaining artboard. in the Control panel, or click the Delete icon in an artboard’s upper-right corner. You can To the top Select and view artboards 1. Select the Artboard tool . 2. Do any of the following: Click an artboard to make it active. (Clicking in or drawing over an artboard using a different tool will also make the Artboard tool active.
Columns menu. The default value creates the most square appearance possible with the specified number of artboards. Arrange by Row Arranges all the artboards in a single row. Arrange by Column Arranges all the artboards in a single column. Change to Right-to-Left Layout/Change to Left-to-Right Layout Arranges the artboards from left to right or right to left. By default, artboards are arranged from left to right.
Artboard with rulers Display center mark, cross hairs, or video safe areas The center mark, cross hairs, and video safe area are video properties that assist you in creating videos while using Creative Suite products. To display these properties: 1. Double-click the Artboard tool Control panel. in the Tools panel, or, with the Artboard tool active, click the Artboard Options icon 2. In the Display section, select the options you’d like displayed in your artboards.
Viewing artwork Specify Document Setup options About print tiling Zoom in or out Change the view area Navigator panel overview View artwork as outlines Use multiple windows and views Previewing artwork in its final output medium To the top Specify Document Setup options At any point you can change your document’s default setup options for units of measure, transparency grid display, background color, and type settings such as language, quote style, superscript and subscript size, bleeds, and exportabilit
Select the Zoom tool . The pointer becomes a magnifying glass with a plus sign in its center. Click in the center of the area that you want to magnify, or hold down Alt (Windows) or Option (Mac OS) and click in the center of the area that you want to reduce. Each click magnifies or reduces the view to the previous preset percentage. Select the Zoom tool and drag a dotted rectangle, called a marquee, around the area you want to magnify.
Layers panel. Ctrl-click (Windows) or Command-click (Mac OS) again to return to previewing artwork in color. The eye icon has a hollow center when Outline view is enabled and a filled center when Preview view is enabled. To view all items in unselected layers as outlines, Alt+Ctrl-click (Windows) or Option+Command-click (Mac OS) the eye icon for the selected layer. Alternatively, select Outline Others from the Layers panel menu.
Working with ConnectNow Working with ConnectNow To the top Working with ConnectNow Adobe® ConnectNow provides you with a secure, personal online meeting room where you can meet and collaborate with others via the web in real time. With ConnectNow, you can share and annotate your computer screen, send chat messages, and communicate using integrated audio. You can also broadcast live video, share files, capture meeting notes, and control an attendee's computer.
Drawing 83
Drawing basics About vector graphics About paths About direction lines and direction points Specify direction line and direction point appearance Specify anchor point size preferences Drawing modes You draw and modify paths using a set of drawing tools and techniques common to Adobe Illustrator, Adobe® InDesign®, and Adobe® Photoshop®. Use these applications to draw paths, and freely copy and paste them between programs.
A. Four corner points B. Four smooth points C. Combination of corner and smooth points A corner point can connect any two straight or curved segments, while a smooth point always connects two curved segments. A corner point can connect both straight segments and curved segments. Note: Don’t confuse corner and smooth points with straight and curved segments. A path’s outline is called a stroke. A color or gradient applied to an open or closed path’s interior area is called a fill.
Moving and resizing direction lines changes the slope of curves. Note: In Illustrator, you can show or hide anchor points, direction lines, and direction points by choosing View > Show Edges or View > Hide Edges. To the top Specify direction line and direction point appearance When working with anchor points and paths, you may sometimes need to see direction lines (handles), while at other times they may get in the way. You can show or hide direction lines for multiple selected anchor points.
Drawing modes Illustrator CS5 provides the following drawing modes: Draw Normal ( ) Draw Behind ( ) Draw Inside ( ) A dotted open rectangle like the one shown in the illustration C, is displayed when an object with Draw Inside mode is active. The Draw Normal mode is the default drawing mode. You can select drawing modes from the Tools panel, below the Color Selector tool. Drawing Modes panel To switch through drawing modes, click the Drawing Modes panel in the Tools panel and select the drawing mode.
Drawing simple lines and shapes Draw straight lines with the Line Segment tool Draw rectangles and squares Specify the corner radius of a rounded rectangle Draw ellipses Draw polygons Draw stars Draw arcs Draw spirals Draw grids To the top Draw straight lines with the Line Segment tool Use the Line Segment tool when you want to draw one straight line segment at a time. For a video on using the Line Segment tool, see www.adobe.com/go/vid0036. 1. Select the Line Segment tool . 2.
1. Select the Ellipse tool . Click and hold the rectangle tool to see and choose the ellipse tool. For more information on selecting tools see Select a tool. 2. Do one of the following: Drag diagonally until the ellipse is the desired size. Click where you want the top-left corner of the ellipse’s bounding box to be. Specify a width and height for the ellipse, and click OK.
Draw spirals 1. Select the Spiral tool . 2. Do one of the following: Drag until the spiral is the desired size. Drag the pointer in an arc to rotate the spiral. Click where you want the spiral to begin. In the dialog box, set any of the following options, and click OK. Radius Specifies the distance from the center to the outermost point in the spiral. Decay Specifies the amount by which each wind of the spiral should decrease relative to the previous wind.
Drawing pixel-aligned paths for web workflows Aligning new objects to pixel grid Aligning existing objects to pixel grid Aligning symbols to pixel grid Viewing the pixel grid Saving selected slices Anti-aliasing options Pixel-aligned is an object level property, which enables an object to have its vertical and horizontal paths aligned to the pixel grid. This property remains with the object when the object is modified.
possibility of such strokes producing anti-aliased results. Objects that are pixel-aligned, but do not have any straight vertical or horizontal segments, are not modified to align to the pixel grid. For example, because a rotated rectangle does not have straight vertical or horizontal segments, it is not nudged to produce crisp paths, when the pixel-aligned property is set for it. Note: The document level property and pixel-aligned status of each object are saved in the .ai file.
Sharp Crisp Strong Text anti-aliasing options in the Character panel You can set anti-aliasing options for each text frame. These text anti-aliasing attributes get saved as part of the document. These options are also supported for PDF, AIT, and EPS formats. Text anti-aliasing options can be exported to or imported from PSD. While exporting to BMP, PNG, Targa, JPEG, or TIFF formats the following options are available in the anti-aliasing drop-down list: None, Art Optimized and Type Optimized.
Drawing with the Pen, Pencil, or Flare tool Drawing with the Pen tool Drawing with the Pencil tool Drawing flares To the top Drawing with the Pen tool Draw straight line segments with the Pen tool The simplest path you can draw with the Pen tool is a straight line, made by clicking the Pen tool to create two anchor points. By continuing to click, you create a path made of straight line segments connected by corner points. Clicking Pen tool creates straight segments. 1. Select the Pen tool. 2.
In general, extend the direction line about one third of the distance to the next anchor point you plan to draw. (You can adjust one or both sides of the direction line later.) Hold down the Shift key to constrain the tool to multiples of 45°. Drawing the first point in a curve A. Positioning Pen tool B. Starting to drag (mouse button pressed) C. Dragging to extend direction lines 4.
Reposition anchor points as you draw After you click to create an anchor point, keep the mouse button pressed down, hold down the spacebar, and drag to reposition the anchor point. Finish drawing a path Complete a path in one of the following ways: To close a path, position the Pen tool over the first (hollow) anchor point. A small circle appears next to the Pen tool pointer when it is positioned correctly. Click or drag to close the path.
curve 3. Position the Pen tool over the selected endpoint. A convert-point icon appears next to the Pen tool when it is positioned correctly. Click the anchor point to convert the smooth point to a corner point. 4. Reposition the Pen tool where you want the straight segment to end, and click to complete the straight segment. Drawing a curved segment followed by a straight segment (part 2) C. Positioning Pen tool over existing endpoint D. Clicking endpoint E.
1. Select the Pencil tool. 2. Position the tool where you want the path to begin, and start dragging to draw a path. 3. After you’ve begun dragging, hold down Alt (Windows) or Option (Mac OS). The Pencil tool displays a small circle (and, in InDesign, a solid eraser) to indicate that you’re creating a closed path. 4. When the path is the size and shape you want, release the mouse button (but not the Alt or Option key). After the path closes, release the Alt or Option key.
Remember to select a fill before you draw the pencil strokes. Keep Selected Determines whether to keep the path selected after you draw it. This option is selected by default. Edit Selected Paths Determines whether or not you can change or merge a selected path when you are within a certain distance of it (specified with the next option). Within: _ pixels Determines how close your mouse or stylus must be to an existing path in order to edit the path with the Pencil tool.
2. Press the mouse button down to place the center handle of the flare, then drag to set the size of the center, the size of the halo, and to rotate the angle of the rays. Before releasing the mouse, press Shift to constrain the rays to a set angle. Press Up Arrow or Down Arrow to add or subtract rays. Press Ctrl (Windows) or Command (Mac OS) to hold the center of the flare constant. 3. Release the mouse when the center, halo, and rays are as desired. 4.
Editing paths Select paths, segments, and anchor points Adding and deleting anchor points Smooth and simplify paths Convert between smooth points and corner points Erase artwork Split a path To the top Select paths, segments, and anchor points Before you can reshape or edit a path, you need to select the path’s anchor points, segments, or a combination of both. Select anchor points If you can see the points, you can click them with the Direct Selection tool points. to select them.
Note: Don’t use the Delete and Backspace keys or the Edit > Cut and Edit > Clear commands to delete anchor points: these keys and commands delete the point and the line segments that connect to that point. Add or delete anchor points 1. Select the path you want to modify. 2. To add an anchor point, select the Pen tool or the Add Anchor Point tool, position the pointer over the path segment, and click. 3.
Simplifying a path removes extra anchor points without changing the shape of the path. Removing unnecessary anchor points simplifies your artwork, reducing the file size, and making it display and print faster. 1. Select the object. 2. Choose Object > Path > Simplify. 3. Set the Curve Precision to control how closely the simplified path follows the original path. Select Preview to show a preview of the simplified path and list the number of points in the original and simplified paths. 4.
Clicking a smooth point to create a corner point To convert a smooth point to a corner point with independent direction lines, drag either direction point. Converting a smooth point to a corner point To convert a corner point without direction lines to a corner point with independent direction lines, first drag a direction point out of a corner point (making it a smooth point with direction lines).
2. Select the Eraser tool . 3. (Optional) Double-click the Eraser tool and specify options. 4. Drag over the area you want to erase. You can control the tool by doing any of the following: To constrain the Eraser tool to a vertical, horizontal, or diagonal line, Shift-drag. To create a marquee around an area and erase everything inside the area, Alt-drag (Windows) or Option-drag (Mac OS). To constrain the marquee to a square, Alt-Shift-drag (Windows) or Option-Shift-drag (Mac OS).
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Adjust path segments Move straight segments Adjust the length or angle of straight segments Adjust the position or shape of curved segments Delete a segment Extend an open path Connect two open paths Join two endpoints Join two or more paths Move or nudge anchor points or segments using the keyboard Stretch parts of a path without distorting its overall shape Editing path segments works similarly in Adobe applications.
Drag the anchor point, or drag the direction point. Note: You can also apply a transformation, such as scaling or rotating, to a segment or anchor point. To the top Delete a segment 1. Select the Direct Selection tool , and select the segment you want to delete. 2. Press Backspace (Windows) or Delete (Mac OS) to delete the selected segment. Pressing Backspace or Delete again erases the rest of the path. To the top Extend an open path 1.
Note: In Illustrator CS5, only corner joins are used to join open paths. To the top Join two or more paths Illustrator CS5 provides the option to join two or more open paths. To join one or more open paths, use the Selection tool to select the open paths and click Object > Path > Join. You can also use the keyboard shortcut Ctrl+J (Windows) or Cmd+J (Mac). When anchor points are not overlapping, Illustrator adds a line segment to bridge the paths to join.
Using Live Trace | CS5 and earlier Trace artwork Tracing options Change the display of a tracing object Adjust the results of a tracing object Specify the colors used for tracing Use a tracing preset Convert a tracing object to a Live Paint object Release a tracing object Manually trace artwork using template layers To the top Trace artwork If you want to base a new drawing on an existing piece of artwork, you can trace it.
Palette Specifies a palette for generating a color or grayscale tracing from the original image. (This option is available only when Mode is set to Color or Grayscale.) To let Illustrator determine the colors in the tracing, select Automatic. To use a custom palette for the tracing, select a swatch library name. (The swatch library must be open in order for it to appear in the Palette menu.) Max Colors Specifies a maximum number of colors to use in a color or grayscale tracing result.
2. Do any of the following: Set basic options in the Control panel. Click the Tracing Options Dialog button in the Control panel to view all tracing options. Alternatively, choose Object > Live Trace > Tracing Options. Adjust the options, and click Trace. Use tracing presets to quickly change the results of a tracing. To the top Specify the colors used for tracing 1. Create a swatch library that contains the colors you want to use in the tracing. 2.
To convert the tracing to paths, click Expand in the Control panel or choose Object > Live Trace > Expand. Use this method if you want to work with the components of the traced artwork as individual objects. The resulting paths are grouped together. To convert the tracing to paths while preserving the current display options, choose Object > Live Trace > Expand As Viewed.
Using Image Trace | CS6 Using Image Trace Tracing options Release a tracing object If you want to base a new drawing on an existing piece of artwork, you can trace it. For example, you can create a graphic based on a pencil sketch drawn on paper. Or, import a raster image saved in another graphics program, and trace over it. The easiest way to trace artwork is to open or place a file into Illustrator, and automatically trace the artwork with the Image Trace command.
Mode Specifies a color mode for the tracing result. Palette Specifies a palette for generating a color or grayscale tracing from the original image. (This option is available only when Mode is set to Color or Grayscale.) To let Illustrator determine the colors in the tracing, select Automatic.To use the document swatches as a palette for the tracing, select Document Library.
About Perspective Grid To view the default two-point perspective grid in a document, you can do any of the following: Click View > Perspective Grid > Show Grid. Press Ctrl+Shift+I (on Windows) or Cmd+Shift+I (on Mac) to show the Perspective Grid. The same keyboard shortcut can be used to hide the visible grid. Click the Perspective Grid tool from the Tools panel. Perspective Grid A. Plane switching widget B. Left Vanishing Point C. Vertical Grid Extent D. Perspective Grid Ruler E. Right Vanishing Point F.
Show Active Plane Widget This option is selected by default. If you deselect this check box, then the widget is not displayed with the Perspective Grid. Widget Position You can choose to display the widget on the upper left, upper-right, lower-left, or lower-right corner of the document window. When you select the Perspective Selection tool, the left, right, and horizontal grid controls are displayed. You can switch to the Perspective Selection tool by pressing Shift+V or selecting it from the Tools panel.
Perspective drawing Introducing perspective drawing Perspective grid presets Drawing new objects in perspective Attach objects to perspective Release objects with perspective Bringing objects in perspective Selecting objects in perspective Transforming objects Adding text and symbols in perspective Perspective Grid settings To the top Introducing perspective drawing In Illustrator CS5, you can easily draw or render artwork in perspective using a feature set that works on established laws of perspective d
Perspective Grid Presets A. 1-point perspective B. 2-point perspective (default) C. 3-point perspective To select one of the default perspective grid preset, click View> Perspective Grid and then select from the required preset. Define grid presets To define grid settings, click View > Perspective Grid > Define Grid. In the Define Perspective Grid dialog box, you can configure the following attributes for a preset: Name To save a new preset, select the Custom option from the Name drop-down list.
Perspective Grid Presets dialog box The Perspective Grid Preset Options dialog box opens in edit mode. Enter the new grid setting and click OK to save the new grid settings. You cannot delete the default presets. To delete a user-defined preset, click Delete in the Perspective Grid Presets dialog box. Illustrator also allows you to import and export user-defined presets. To export a particular preset, click Export in the Perspective Grid Presets dialog box. To import a preset, click Import.
Moving the perspective grid across artboards using the left ground level widget (shown as A) Adjust vanishing points, grid planes, horizon height, grid cell size, and grid extent You can manually adjust vanishing points, grid plane controls, horizon height, and cell size using the respective widgets. However, these widgets are only visible with the Perspective Grid tool selected. To adjust the left and right vanishing points use the left and right vanishing point widgets.
Both vanishing points move when station point is locked. You can also adjust the left, right, and horizontal grid planes using the respective grid plane control widgets. The pointer changes to a two-way arrow ( , ) when you move the pointer over the grid plane controls. Holding the Shift key while moving the grid planes, constrains the movement to the extent of cell size.
Changing the ruler origin and viewing the station point A. Station Point B. Changed Ruler Origin Adjust horizon height to fine-tune the observer's eye-level. When you move the pointer over the horizon line, the pointer changes to a vertical twoway arrow . Adjusting the horizon height in a two-point perspective grid You can change the grid extent to define the extent of the grid on the planes. When you move the pointer over the grid extent widgets, the pointer changes to .
Moving the right grid extent away from the right vanishing point in a two-point perspective grid You can also adjust the grid extent to increase or decrease the vertical grid extent. Adjusting the grid extent to decrease the vertical grid extent To increase or decrease the grid cell size, use the grid cell size widget. When you mouse over the grid cell size widget, the pointer changes to Note: When you increase the grid cell size, the number of grid cells reduce.
world dimensions of the objects. Note: While drawing in perspective, you can use the regular shortcuts available for drawing objects such as Shift / Alt+drag (Windows) or Option+drag (Mac OS). While drawing in perspective, objects can be snapped to grid lines of the active plane. An object snaps to the grid lines within 1/4th distance of the cell size. You can enable or disable the Snap to Grid option from View > Perspective Grid > Snap to Grid.This option is enabled by default.
Moving a rectangle in perpendicular to its initial position Note: The arrow keys do not work when you move objects in perpendicular. Use the keyboard shortcut, Alt+drag (Windows) or Option+drag (Mac OS) to copy the object. To constrain the movement in perspective, press Shift+drag. To specify a precise location where you need to move the object during perpendicular movement, see Precise perpendicular movement.
Perpendicular movement by dragging grid planes You can also move objects in perpendicular direction by dragging the grid plane using grid plane controls. When you move an object in perpendicular direction, the object is placed parallel to its existing or current location. To move an object parallel to its current position: 1. Select the Perspective Selection tool from the Tools panel or by pressing Shift+V. 2.
Horizontal grid plane is adjusted to the height of left face of the cube when horizontal grid plane is selected and you place the pointer on the anchor point using Perspective Selection tool and press Shift. The other grid planes are hidden temporarily.
Scaling is done in the object’s plane. When you scale an object, the height or distance is scaled based on the object’s plane and not the current or active plane. For multiple objects, scaling is done for objects that are on the same plane. For example, if you select multiple objects on the right and left plane, then all the objects that are on the same plane as the object whose bounding box is used for scaling, are scaled.
Symbolism tools and symbol sets About symbol sets Create symbol sets Modify symbol instances in a symbol set Symbolism tool options To the top About symbol sets A symbol set is a group of symbol instances that you create with the Symbol Sprayer tool. You can create mixed sets of symbol instances by using the Symbol Sprayer tool with one symbol and then using it again with another symbol.
To the top Modify symbol instances in a symbol set You use the symbolism tools to modify multiple symbol instances in a set. For example, you can disperse instances over a larger area using the Symbol Scruncher tool or gradually tinting the color of instances to make them look more realistic. Although you can use symbolism tools on individual symbol instances, they are most effective when used on symbol sets.
Adjust transparency of symbol instances 1. Select the Symbol Screener tool . 2. Do one of the following: Click or drag where you want to increase the symbol’s transparency. Hold down Alt (Windows) or Option (Mac OS), and click or drag where you want to decrease the symbol’s transparency. Apply a graphic style to symbol instances The Symbol Styler tool lets you apply or remove a graphic style from a symbol instance. You can control the amount and location of the application.
Method Specifies how the Symbol Scruncher, Sizer, Spinner, Stainer, Screener, and Styler tools adjust symbol instances. Select User Defined to gradually adjust symbols in relation to the position of the cursor. Select Random to modify the symbols randomly in the area under the cursor. Select Average to gradually smooth out the symbol values. Show Brush Size And Intensity Displays the size as you use the tool.
Symbols About symbols Symbols panel overview Symbol registration point Place or create a symbol Add sublayers for symbols Use 9-slice scaling Work with symbol instances Edit or redefine a symbol Symbol libraries To the top About symbols A symbol is an art object that you can reuse in a document. For example, if you create a symbol from a flower, you can then add instances of that symbol multiple times to your artwork without actually adding the complex art multiple times.
3. Select Sort By Name from the panel menu to list the symbols in alphabetical order. Duplicate a symbol in the panel Duplicating or copying a symbol in the Symbols panel is an easy way to create a new symbol using an existing symbol instance. To create a copy of a symbol, select the symbol in the Symbols panel and choose Duplicate Symbol from the panel menu, or drag the symbol onto the New Symbol button.
Specify a location on the Registration grid where you want to set the symbol’s anchor point. The location of the anchor point affects the position of the symbol within the screen coordinates. Select Enable Guides For 9-Slice Scaling if you want to utilize 9-Slice scaling in Flash. 5. Select the Align to Pixel Grid option to apply the pixel-align property to the symbol. For more information, see Aligning symbols to pixel grid.
3. Move the pointer over any of the four guides. When the pointer changes to the move pointer, drag the guide. Note: Scaling still occurs if you move a guide away from the symbol boundaries (thus dividing the symbol into less than 9 slices). The symbol scales according to the slice in which it falls. 4. Exit isolation mode by clicking the Exit Isolation Mode button .
Note: This option does not work for symbols in perspective. See Adding text and symbols in perspective. Select all instances of a symbol in the document Select a symbol in the Symbols panel, and then choose Select All Instances from the panel menu. Reset transformations To reset any transformations to symbols, select the symbol and click the Reset button in the Control panel. You can also select the Reset Transformation option from the Symbols panel menu (flyout menu).
2. Choose Save Symbol Library from the Symbols panel menu. 3. Save the new library to the default Symbols folder. The library name will automatically appear in the User Defined submenu of the Symbol Libraries and Open Symbol Library menu. If you save the library to a different folder, you can open it by choosing Open Symbol Library > Other Library from the Symbols panel menu. Once you open it using this process, it will appear in the Symbol Libraries submenu with the other libraries.
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About color About colors in digital graphics RGB, CMYK, HSB, and Lab color models Grayscale Color spaces and gamuts About spot and process colors About spot colors About process colors Using spot and process colors together Comparing colors in InDesign and Illustrator Applying colors to artwork is a common Adobe Illustrator task, and one that requires some knowledge of color models and color modes.
Additive colors (RGB) R. Red G. Green B. Blue You can work with color values using the RGB color mode, which is based on the RGB color model. In RGB mode, each of the RGB components can use a value ranging from 0 (black) to 255 (white). For example, a bright red color might have an R value of 246, a G value of 20, and a B value of 50. When the values of all three components are equal, the result is a shade of gray.
HSB color model H. Hue S. Saturation B. Brightness Lab The CIE Lab color model is based on the human perception of color. It is one of several color models produced by the Commission Internationale d’Eclairage (CIE), an organization dedicated to creating standards for all aspects of light. The numeric values in Lab describe all the colors that a person with normal vision sees.
About spot and process colors You can designate colors as either spot or process color types, which correspond to the two main ink types used in commercial printing. In the Swatches panel, you can identify the color type of a color using icons that appear next to the name of the color. When applying color to paths and frames, keep in mind the final medium in which the artwork will be published, so that you apply color using the most appropriate color mode.
and one spot ink or varnish. In InDesign, you can mix process and spot colors together to create mixed ink colors. To the top Comparing colors in InDesign and Illustrator Adobe InDesign and Adobe Illustrator use slightly different methods for applying named colors. Illustrator lets you specify a named color as either global or nonglobal, and InDesign treats all unnamed colors as nonglobal, process colors. The InDesign equivalents to global colors are swatches.
Selecting colors About selecting colors Color Picker overview Select colors using the Color Picker Color panel overview Select colors using the Color panel To the top About selecting colors You can select colors for your artwork from a variety of tools, panels, and dialog boxes in Illustrator. How you select color depends on the needs of your artwork. For example, if you want to use specific company-approved colors, you’ll want to select colors from the company-approved swatch library.
Color Picker A. Color field B. HSB color values C. New color rectangle D. Original color rectangle E. Color slider F. Color spectrum G. RGB color values H. Hexadecimal color value I. CMYK color values Display the Color Picker Double-click the fill or stroke color selection box in the Tools panel or Color panel. Change the color spectrum displayed in the Color Picker Click a letter: H (Hue), S (Saturation), B (Brightness), R (Red), G (Green), or B (Blue).
Drag or click in a slider. Shift-drag a color slider to move the other sliders in relation to it (except for HSB sliders). This keeps a similar color but with a different tint or intensity. Enter values in any of the text boxes. Click in the color spectrum bar at the bottom of the panel.
Using and creating swatches About swatches Swatches panel overview Use swatch libraries Add colors from artwork to Swatches panel Share swatches between applications Import swatches from another document Create color swatches Manage swatches To the top About swatches Swatches are named colors, tints, gradients, and patterns. The swatches associated with a document appear in the Swatches panel. Swatches can appear individually or in groups.
Swatches panel in Small List view A. Spot color B. Global color C. Fill or stroke of None D. Registration swatch (prints on all plates) E. CMYK symbol (when document is open in CMYK mode) F. RGB symbol (when document is open in RGB mode) G. Swatch Library Menu button H. Show Swatch Kinds Menu button I. Swatch Options button J. New ColorGroup button K.
thematic libraries such as camouflage, nature, Greek, and jewel tones. When you open a swatch library, it appears in a new panel (not the Swatches panel). You select, sort, and view swatches in a swatch library the same as you do in the Swatches panel. However, you can’t add swatches to, delete swatches from, or edit the swatches in the Swatch libraries panel. To make a swatch library appear each time Illustrator is started, select Persistent from the swatch library’s panel menu.
Colors are arranged and saved using the Hue Forward rule. To the top Share swatches between applications You can share the solid swatches you create in Photoshop, Illustrator, and InDesign by saving a swatch library for exchange. The colors appear the same across applications as long as your color settings are synchronized. Note: You can create and share color group swatches by using the Kuler panel or the Kuler website. (See Create color themes with Kuler.) 1.
Create spot-color swatches 1. Select a color using the Color Picker or Color panel, or select an object with the color you want. 2. Do one of the following: Ctrl-drag (Windows) or Command-drag (Mac OS) the color from the Tools panel or Color panel to the Swatches panel. In the Swatches panel, Ctrl-click (Windows) or Command-click (Mac OS) the New Swatch button, or select New Swatch from the panel menu. In the dialog box that appears, select Spot Color for Color Type.
Preview Displays color adjustments on any objects to which the swatch is applied.
Color groups (harmonies) About color groups Color Guide panel overview Edit Colors/Recolor Artwork dialog box overview Create color groups Edit colors in the Edit Colors dialog box Assign colors to your artwork Reduce colors in your artwork To the top About color groups A color group is an organization tool that lets you group together related color swatches in the Swatches panel.
color C. Active colors D. Color variations E. Limits colors to specified swatch library F. Edit Colors or Edit Or Apply Colors depending on selection (opens the colors in the Edit Colors/Recolor Artwork dialog box) G. Save group to Swatches panel Note: To edit the selected color group, make sure that no artwork is selected and click the Edit Colors button . To edit the selected color group and apply the edits to selected artwork, click the Edit Or Apply Colors button .
Create or edit color groups, and assign colors using the Edit Colors/Recolor Artwork dialog box. A. Create and edit a color group in the Edit tab B. Assign colors in the Assign tab C. Select a color group from the Color Groups list The Recolor Art option at the bottom of the dialog box lets you preview colors on selected artwork, and specifies whether artwork is recolored when you close the dialog box.
To the top Create color groups You can create color groups using the Color Guide panel or the Edit Colors/Recolor Artwork dialog box. You can also create and share color groups on the Adobe Kuler website (www.Kuler.adobe.com). For a video on using the Color Guide to find and create color solutions, see www.adobe.com/go/vid0058. For a video on creating, editing, and experimenting with color groups in Live Color, see www.adobe.com/go/lrvid4019_ai.
6. Type a name in the Name box to the right of the Harmony Rules menu, and click New Color Group Note: if the New Color Group icon is not visible, click the Show Color Group Storage icon . . 7. To save the new color group to the Swatches panel, click OK and close the Edit Colors/Recolor Artwork dialog box. Note: You can also create a color group by using the Color Guide. (See Create a color group in the Color Guide panel.
A. Base color as it appears in Harmony Rules menu B. Base color as it appears in color wheel C. Color display options D. Color of selected color marker or color bar E. Show saturation and hue on Wheel F. Add and subtract color marker tools G.
a. To change hue, move the marker around the wheel. To change saturation or brightness, move it inward and outward on the wheel. b. To add a color, right-click in the color wheel where you want to add the color and choose Add New Color. c. To remove a color, right-click on the color marker (or the line of the marker) in the color wheel and choose Remove Color. d. To change a color using the Color Picker, right-click the color and choose Color Picker. e.
A. Color wheel view of linked colors B. Color wheel view of unlinked colors C. Color bars view of linked colors D. Color bars view of unlinked colors E. Colors linked, click to unlink F. Colors unlinked, click to relink 1. In the Edit Colors/Recolor Artwork dialog box, select the color group you want to edit and click Edit. 2. Click the Unlink Harmony Colors icon . 3. Do one of the following in either the color wheel or color bar view: Drag the color marker you want to edit to set a new color.
To save the edits to the original color group, click Save Changes To Color Group . Randomly change color order or saturation and brightness In the Edit Colors/Recolor Artwork dialog box, you can explore random variations of the current color group by using the Randomly Assign Brightness And Saturation button and the Randomly Change Color Order button. 1. In the Edit Colors/Recolor Artwork dialog box, select a color group. 2. Click Edit, and then click Display Color Bars; or click Assign. 3.
Original artwork colors (top), assigning new colors by selecting a color group in the Color Groups list (center), and assigning new colors by creating a new color group using the Harmony Rules menu (bottom). Using the Current Colors and New columns, you control how colors are assigned. When you select Recolor Art, the selected artwork is recolored with the active color group according to the columns assignments. A. Active color group B. Get Colors From Selected Art C. Colors from selected artwork D.
For a video on assigning colors, see www.adobe.com/go/vid0061. Assign new colors to selected artwork 1. Select the artwork you want to recolor. 2. Choose Edit > Edit Colors > Recolor Artwork. The Recolor Artwork dialog box opens, displaying the Assign area with colors from the original artwork in both columns. 3. If you want to assign colors from a color group, do one of the following: a. Choose a color group from the Color Groups list. b.
in the Current Colors column. The artwork that uses that color appears in full color on the artboard while all other areas of the selected artwork are dimmed. 3. Click the icon again to return your artwork to full color. To the top Reduce colors in your artwork Reducing colors for output, converting colors to grayscale, or limiting colors to a color library is often necessary when you create artwork intended for multiple types of output media.
Limit To Library Specifies a swatch library from which all new colors are derived. Sort Determines how the original colors are sorted in the Current Colors column. Colorize Method Specifies the types of variations allowed for the new colors. Exact exactly replaces each current color with the specified new color. Scale Tints (default option) replaces the darkest current color in the row with the specified new color. Other current colors in the row are replaced with a proportionally lighter tint.
Create color themes with Kuler About Kuler View and use themes To the top About Kuler The Kuler™ panel is your portal to groups of colors, or themes, created by an online community of designers. You can use it to browse thousands of themes on Kuler, and then download some to edit or to include in your own projects. You can also use the Kuler panel to share your themes with the Kuler community by uploading them.
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Adjusting colors Shift an out-of-gamut color to a printable color Shift a color to a web-safe color Blend colors Change a color to its inverse or complement Change the tint of a color Invert multiple colors Adjust color balance of one or more colors Change the color mode of a document Display and output spot colors using Lab values Convert color to grayscale and vice versa Adjust the saturation of multiple colors Mix overlapping colors To the top Shift an out-of-gamut color to a printable color Some colo
green value, and 204 – 51 (the current blue value) = 153 for the new blue value. To the top Change the tint of a color 1. Select a global process color or spot color in the Swatches panel, or select an object to which you’ve applied a global process color or spot color. 2. In the Color panel, drag the T slider or enter a value in the text box to modify the color’s intensity. The tint range is from 0% to 100%; the lower the number, the lighter the tint will be.
Select Use Standard Lab Values Specified By The Book Manufacturer if you want the most accurate display and output of colors. Select Use CMYK Values From The Manufacturer’s Process Book if you want spot colors to match earlier versions of Illustrator. To the top Convert color to grayscale and vice versa Convert colors to grayscale 1. Select the objects whose colors you want to convert. 2. Choose Edit > Edit Colors > Convert To Grayscale.
2. Choose Effect > Pathfinder > Soft Mix. 3. Enter a value between 1% and 100% in the Mixing Rate text box to determine the percentage of visibility you want in the overlapping colors, and click OK.
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About painting To help you add visual interest to your artwork, Adobe Illustrator provides calligraphic, scatter, art, pattern, and bristle brushes. In addition, you can use the Live Paint feature and Shape Builder tools, to paint different path segments and fill enclosed paths with different colors, patterns, or gradients. Using the Shape Builder tool, you can create new complex new shapes by merging simple shapes.
Painting with fills and strokes Painting methods About fills and strokes Apply a fill color to an object Draw and merge paths with the Blob Brush tool Convert strokes to compound paths Remove the fill or stroke from an object Select objects with the same fill and stroke Create multiple fills and strokes Create strokes with variable widths To the top Painting methods Illustrator provides two methods of painting: assigning a fill, stroke, or both to an entire object, and converting the object to a Live Pai
www.adobe.com/go/vid0038. To the top About fills and strokes A fill is a color, pattern, or gradient inside an object. You can apply fills to open and closed objects and to faces of Live Paint groups. A stroke can be the visible outline of an object, a path, or the edge of a Live Paint group. You can control the width and color a stroke. You can also create dashed strokes using Path options, and paint stylized strokes using brushes.
Path created with a Calligraphy brush (left); path created with the Blob Brush tool (right) To see a video on using the Blob Brush tool, see www.adobe.com/go/lrvid4018_ai. To see an example of using the Blob Brush to create a complex drawing, see www.adobe.com/go/learn_ai_tutorials_blob_brush_en. Blob Brush tool guidelines When using the Blob Brush tool, keep the following guidelines in mind: To merge paths, they must be adjacent in stacking order.
2. Click the Fill box or the Stroke box in the Tools panel. Doing so indicates whether you want to remove the object’s fill or its stroke. 3. Click the None button in the Tools panel, the Color panel, or the Swatches panel. Note: You can also click the None icon in the Fill menu or the Stroke Color menu in the Control panel. Fill and Stroke boxes A. Fill box B. Stroke box C.
Using the Width tool To create or modify a width point using the Width Point Edit dialog box, double-click the stroke using the Width tool and edit the values for the width point. If you select the Adjust Adjoining Width Points option, changes to the selected width point affect neighboring width points as well. If you press Shift and double-click the width point, then this check box is selected automatically.
Width Point Edit dialog box for discontinuous points The Single Width Only check boxes allow using either incoming or outgoing width leaving a single continuous width point.
profile from an object. To restore the default width profile set, click the Reset Profiles button at the bottom of the Profile drop down list. Note: Restoring the default width profile set in the Stroke Options dialog box, removes any custom saved profiles. If you apply a variable width profile to a stroke, then it is indicated with an asterisk (*) in the Appearance panel.
Live Paint groups About Live Paint Live Paint limitations Create Live Paint groups Expand or release a Live Paint group Select items in Live Paint groups Modify Live Paint groups Paint with the Live Paint Bucket tool Close gaps in Live Paint groups To the top About Live Paint Converting your artwork to Live Paint groups allows you to color them freely, as you would a drawing on canvas or paper.
Features and commands that work on an entire Live Paint group, but not on individual faces and edges Transparency Effects Multiple fills and strokes from the Appearance panel Object > Envelope Distort Object > Hide Object > Rasterize Object > Slice > Make Make Opacity Mask (in the Transparency panel menu) Brushes (You can apply brushes to an entire Live Paint group if you add a new stroke to the group using the Appearance panel.
Select the Live Paint Bucket tool and click the selected object. Note: Certain properties may be lost in the conversion to a Live Paint group, such as transparency and effects, while other objects cannot be converted (such as type, bitmap images, and brushes). Convert objects to Live Paint groups Do any of the following for objects that do not directly convert to Live Paint groups: For type objects, choose Type > Create Outlines. Then make the resulting paths into a Live Paint group.
To select faces or edges with the same fill or stroke, triple-click an item. Or click once, choose Select > Same, and then choose Fill Color, Stroke Color, or Stroke Weight on the submenu. To add items to, or remove items from, the current selection, Shift-click or Shift-drag a marquee around the items. Select a Live Paint group Using the Selection tool, click the group. Select an original path within a Live Paint group Using the Direct Selection tool, click a path inside the Live Paint group.
Isolation Mode button when you’re done adding new paths. Select a Live Paint group and the paths you want to add to it. Then choose Object > Live Paint > Merge, or click Merge Live Paint in the Control panel. In the Layers panel, drag one or more paths into a Live Paint group. Note: Paths inside a Live Paint group may not exactly align with similar or identical paths outside the Live Paint group.
To the top Close gaps in Live Paint groups Gaps are small spaces between paths. If paint leaks through and paints faces you did not intend, you probably have a gap in your artwork. You can create a new path that closes the gap, edit existing paths to close the gap, or adjust the gap options in the Live Paint group. You can avoid gaps in your Live Paint artwork by overdrawing paths (that is, extending them past each other).
Brushes About brushes Brushes panel overview Work with brush libraries Apply brush strokes Draw paths and apply brush strokes simultaneously Paintbrush tool options Remove brush strokes Convert brush strokes to outlines Create or modify brushes Brush options To the top About brushes Brushes let you stylize the appearance of paths. You can apply brush strokes to existing paths, or you can use the Paintbrush tool to draw a path and apply a brush stroke simultaneously.
To the top Brushes panel overview The Brushes panel (Window > Brushes) displays brushes for the current file. Whenever you select a brush in a brush library, it is automatically added to the Brushes panel. Brushes that you create and store in the Brushes panel are associated only with the current file, which means that each Illustrator file can have a different set of brushes in its Brushes panel.
Draw paths and apply brush strokes simultaneously 1. Select a brush in a brush library or the Brushes panel. 2. Select the Paintbrush tool . 3. Position the pointer where you want the brush stroke to begin, and drag to draw a path. A dotted line follows the pointer as you drag. 4. Do one of the following: To draw an open path, release the mouse button when the path is the desired shape. To draw a closed shape, hold down Alt (Windows) or Option (Mac OS) as you drag.
more information on new document profiles, see About new document profiles Create a brush 1. For scatter and art brushes, select the artwork you want to use. For pattern brushes, you can select the artwork for the side tile, but it isn’t necessary. For detailed guidelines to create pattern brushes, see Guidelines for constructing pattern tiles. To know more about pattern brush options, see Pattern brush options.
become tints of the stroke color, and white remains white. If you use a spot color as the stroke, Tints generates tints of the spot color. Choose Tints for brushes that are in black and white, or when you want to paint a brush stroke with a spot color. Tints And Shades Displays the brush stroke in tints and shades of the stroke color. Tints and Shades maintains black and white, and everything between becomes a blend from black to white through the stroke color.
Stretch Between Guides option in the Art brush’s Brush Options dialog box The art enclosed between the guides is the only portion of the brush that stretches or contracts to make the art brush fit the path length. Comparing between segmented art brush and non-segmented art brush A. Segmented art brush B. Non segmented art brush Pattern brush options Scale Adjusts the size of tiles relative to their original size. Specify the scale using the Scale option slider.
Tiles in a pattern brush A. Side tile B. Outer Corner tile C. Inner Corner tile D. Start tile E. End tile Flip Along or Flip Across Changes the orientation of the pattern in relation to the line. Fit Determines how the pattern fits on the path: Stretch To Fit lengthens or shortens the pattern tile to fit the object. This option can result in uneven tiling. Add Space To Fit adds blank space between each pattern tile to apply the pattern proportionally to the path.
You can also set other brush characteristics such as bristle length, stiffness, and paint opacity. An illustration that uses different Bristle brush shapes and characteristics for drawing When you use Bristle brush with a graphic tablet, Illustrator interactively tracks the movements of the stylus over the tablet. It interprets all aspects of its orientation and pressure input at any point along a drawing path.
Bristle Brush Options dialog box 3. In the Bristle Brush Options dialog box, specify: Name of the bristle brush. Maximum length of the brush name can be 31 characters. Shape Select from ten different brush models, which provide a different drawing experience and appearance of bristle brush paths. Size Brush size is the diameter of the brush. Like a physical media brush, the Bristle brush diameter is measured at the point where the bristles meet the handle (the ferrule).
4. Click OK to create the brush definition with the chosen settings. With the brush tool selected, and a Bristle brush definition chosen in the Brushes panel, you can create artwork using the Bristle brush. If you try to print, save, or flatten transparency in a document with more than 30 bristle brush strokes, a warning message is displayed. These warnings are displayed when you save, print, and flatten file content.
Transparency and blending modes About transparency Transparency panel overview View transparency in artwork Change the opacity of artwork Create a transparency knockout group Use opacity masks to create transparency Use transparency to shape a knockout About blending modes Change the blending mode of artwork To the top About transparency Transparency is such an integral part of Illustrator that it’s possible to add transparency to your artwork without realizing it.
To select all objects that use a specific opacity, select an object with that opacity, or deselect everything and enter the opacity value in the Transparency panel. Then choose Select > Same > Opacity. If you select multiple objects in a layer and change the opacity setting, the transparency of overlapping areas of the selected objects will change relative to the other objects and show an accumulated opacity.
A. Underlying objects B. Opacity mask artwork C. Masking object filled with black-to-white gradient D. C moved over the area of B and masking B When you create the opacity mask, a thumbnail of the masking object appears in the Transparency panel to the right of the thumbnail of the masked artwork. (If these thumbnails aren’t visible, choose Show Thumbnails from the panel menu.) By default, the masked artwork and the masking object are linked (as shown by a link between the thumbnails in the panel).
To reactivate a mask, target the masked artwork in the Layers panel, and then Shift-click the masking object’s thumbnail in the Transparency panel. Alternatively, select Enable Opacity Mask from the Transparency panel menu. Remove an opacity mask Target the masked artwork in the Layers panel, and then select Release Opacity Mask from the Transparency panel menu. The masking object reappears on top of the objects that were masked. Clip or invert an opacity mask 1.
To the top About blending modes Blending modes let you vary the ways that the colors of objects blend with the colors of underlying objects. When you apply a blending mode to an object, the effect of the blending mode is seen on any objects that lie beneath the object’s layer or group. It’s helpful to think in terms of the following color terminology when visualizing a blending mode’s effect: The blend color is the original color of the selected object, group, or layer.
Luminosity Creates a resulting color with the hue and saturation of the base color and the luminance of the blend color. This mode creates an inverse effect from that of the Color mode. Note: The Difference, Exclusion, Hue, Saturation, Color, and Luminosity modes do not blend spot colors—and with most blending modes, a black designated as 100% K knocks out the color on the underlying layer. Instead of 100% black, specify a rich black using CMYK values. To the top Change the blending mode of artwork 1.
Gradients Use gradient fills to apply a graduated blend of colors as you would apply any other color. Creating a gradient fill is a good way to create a smooth color gradation across one or more objects. You can save a gradient as a swatch to make it easy to apply the gradient to multiple objects. Note: if you want to create a single, multicolored object on which colors can flow in different directions use a mesh object. For a video on using gradients to enhance your drawings, see www.adobe.
Gradient panel and Gradient tool overview You can use the Gradient panel (Window > Gradient) or the Gradient tool to apply, create, and modify gradients. Gradient colors are defined by a series of stops along the gradient slider. A stop marks the point at which a gradient changes from one color to the next, and is identified by a square below the gradient slider. The squares display the color currently assigned to each gradient stop.
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Apply or edit a gradient Apply a gradient to an object Create an elliptical gradient Modify the colors in a gradient Apply a gradient across multiple objects Change gradient direction, radius, or origin After you apply a gradient to an object, you can quickly and easily replace or edit the gradient.
ending color. 4. To delete an intermediate color, drag the square off the gradient slider or select it and click the Delete button Gradient panel. in the 5. To adjust the location of colors in the gradient, do any of the following: To adjust the midpoints of the gradient’s color stops (the point at which two color stops are 50%), drag a diamond icon located above the slider or select the icon and enter a value from 0 through 100 in the Location box.
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Stroke an object Apply a stroke color, width, or alignment Create dotted or dashed lines Change the caps or joins of a line Add arrowheads Customize arrowheads You use the Stroke panel (Window > Stroke) to specify whether a line is solid or dashed, the dash sequence and other dash adjustments if it is dashed, the stroke weight, the stroke alignment, the miter limit, arrowheads, width profiles, and the styles of line joins and line caps.
Note: If you try to align paths that use different stroke alignments, the paths may not exactly align. Make sure the path alignment settings are the same if you need the edges to match up exactly when aligned. To the top Create dotted or dashed lines You can create a dotted or dashed line by editing an object’s stroke attributes. 1. Select the object. 2. In the Stroke panel, select Dashed Line. If the Dashed Line option isn’t showing, choose Show Options from the Stroke panel menu. .
the program switches from a mitered (pointed) join to a beveled (squared-off) join. The default miter limit is 10, which means that when the length of the point reaches ten times the stroke weight, the program switches from a miter join to a bevel join. A miter limit of 1 results in a bevel join. Round Join Bevel Join Creates stroked lines with rounded corners. Creates stroked lines with squared corners.
Meshes Create mesh objects Edit mesh objects Set transparency for gradient meshes A mesh object is a multicolored object on which colors can flow in different directions and transition smoothly from one point to another. When you create a mesh object, multiple lines called mesh lines crisscross the object and provide a way to easily manipulate color transitions on the object.
To Center Creates a highlight in the center of the object. To Edge Creates a highlight on the edges of the object. 3. Enter a percentage of white highlight to apply to the mesh object. A value of 100% applies maximum white highlight to the object; a value of 0% applies no white highlight to the object. Convert a gradient-filled object to a mesh object 1. Select the object and choose Object > Expand. 2. Select Gradient Mesh, and click OK.
1. Select one or more mesh nodes or patches. 2. Set the opacity from the Opacity slider in Transparency Panel, Control Panel, or the Appearance panel. Note: If you save the object to legacy format or EPS or PDF, the transparency on the mesh object is retained by creating an opacity mask.
Patterns About patterns Guidelines for constructing pattern tiles Create pattern swatches Create seamless geometric patterns Construct irregularly textured patterns Create corner tiles for brush patterns Modify patterns To the top About patterns Illustrator comes with many patterns that you can access in the Swatches panel and in the Illustrator Extras folder on the Illustrator CD. You can customize existing patterns and design patterns from scratch with any of the Illustrator tools.
and that it is unfilled and unstroked. To have Illustrator use this bounding box for a brush pattern, make sure that nothing protrudes from it. Follow these additional guidelines when creating brush patterns: When possible, confine artwork to an unpainted bounding box so that you can control how the pattern tiles. Corner tiles must be square and have the same height as side tiles to align properly on the path.
Bounding box for a fill pattern (left) compared to the bounding box for a brush pattern (right) 9. Paint the geometric objects the desired color. 10. Save the geometric objects as a pattern swatch. To the top Construct irregularly textured patterns 1. Choose View > Snap To Point. 2. Draw a bounding box. If you are creating a brush pattern, skip to step 13. 3. Draw the texture with the objects or lines that intersect only the left side of the bounding rectangle. 4.
Defining artwork and rectangle as a pattern (left) compared to filling an area with the pattern (right) To the top Create corner tiles for brush patterns Corner tiles lend special border effects when applying brush patterns. You can create corner tiles from scratch, or you can use a brush pattern’s side tile as the basis for designing complementary outer and inner (reflected –135°) corner tiles. 1.
Copy (left) and move upper right tile over corner tile (right). 9. Edit the corner tile so that its artwork lines up vertically and horizontally with the tiles next to it. Select and delete any portions of the tile that you do not want in the corner, and edit the remaining art to create the final outer corner tile. Deleting unnecessary elements (left) produces a final outer corner tile (right). 10. Select all of the tile parts including the bounding box. 11. Save the new pattern as a swatch. 12.
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Selecting objects Selection options and preferences Isolate artwork for editing Select behind objects Select the next object in the stacking order Select objects using the Layers panel Select an object with the Selection, Lasso, or Magic Wand tool Select filled objects Select groups and objects in a group Select faces and edges in a Live Paint group Select objects by characteristic Repeat, invert, or save a selection To organize and lay out your artwork, you use tools for selecting, positioning, and stackin
2. Specify any of the following Selection options: Tolerance Specifies the pixel range for selecting anchor points. Higher values increase the width of the area around an anchor point that you can click to select it. Object Selection By Path Only Specifies whether you can select a filled object by clicking anywhere in the object or whether you have to click a path. Snap To Point Snaps objects to anchor points and guides. Specify the distance between the object and anchor point or guide when the snap occurs.
Right-click (Windows) or Control-click (Mac OS) the group and choose Isolate Selected Group. Right-click (Windows) or Control-click (Mac OS) the path and choose Isolate Selected Path. Select the group, object, or path in the Layers panel and choose Enter Isolation Mode from the Layers panel menu or click the Isolate Selected Object button in the Control panel. Isolate a path inside a group 1. Select the path by using the Direct-Selection tool or by targeting it in the Layers panel. 2.
1. Select the Selection tool . 2. Do either of the following: Click an object. Drag a marquee around part or all of one or more objects. 3. To add or remove objects from the selection, hold down Shift and click or drag around the objects you want to add or remove. Dragging over objects to select them When the Selection tool is over an unselected object or group, it changes to . When it is over a selected object or group, the tool changes to .
To select objects according to their transparency or blending mode, select Opacity, and then enter a Tolerance value between 0 and 100%. To select objects according to their blending mode, select Blending Mode. To the top Select filled objects The Object Selection By Path Only preference determines whether you can select a filled object by clicking anywhere within the object’s area with the Selection or Direct Selection tools, or whether you must click a path segment or anchor point with these tools.
Double-clicking is a handy way to select objects (as opposed to faces and edges) within a Live Paint group. Click to select an object within the selected group. Draw to add an object to the selected group. 4. Double-click outside the group to deselect the group. Select a single object within a group 1. Do one of the following: Select the Group Selection tool Select the Lasso tool , and click the object. , and drag around or across the object’s path.
Triple-click a face or edge to select all faces/edges of the same color (select same). If you have difficulty selecting a small face or edge, magnify the view or set the Live Paint Selection tool options to select only fills or strokes. 4. To add or remove faces and edges from the selection, hold down Shift and click the faces/edges you want to add or remove. To switch to the Eyedropper tool and sample fills and strokes, Alt-click (Windows) or Option-click (Mac OS) the fill and stroke you want.
Grouping and expanding objects Group or ungroup objects Expand objects To the top Group or ungroup objects You can combine several objects into a group so that the objects are treated as a single unit. You can then move or transform a number of objects without affecting their attributes or relative positions. For example, you might group the objects in a logo design so that you can move and scale the logo as one unit.
entered in the Expand dialog box.
Moving, aligning, and distributing objects Move objects Paste an object relative to other objects Pasting objects between layers Paste in place and paste on all artboards Align and distribute objects To the top Move objects You can move objects by dragging them with specific tools, by using the arrow keys on the keyboard, or by entering precise values in a panel or dialog box. You can use snapping to help you position objects as you move them.
1. Select one or more objects. 2. Press the arrow key for the direction in which you want to move the object. Press Shift+arrow to move the object ten times the value specified by the Keyboard Increment preference. The distance the object moves each time you press an arrow key is determined by the Keyboard Increment preference. The default distance is 1 point (1/72 of an inch, or .3528 millimeter).
1. Select the object you want to paste. 2. Choose Edit > Copy or Edit > Cut. 3. Select the object in front or in back of which you want to paste. 4. Choose Edit > Paste In Front or Edit > Paste In Back. If you paste more than one object, all pasted objects appear in front or in back of the selected artwork. However, the relative painting order among the individual pasted objects remains the same.
A blue outline appears around the key object, and Align To Key Object Align panel. is automatically selected in the Control panel and 3. In the Align panel or Control panel, click the button for the type of alignment or distribution you want. Note: To stop aligning and distributing relative to an object, click again on the object to remove the blue outline, or choose Cancel Key Object from the Align panel menu. Align or distribute relative to an artboard 1. Select the objects to align or distribute. 2.
Rotating and reflecting objects Rotate objects Rotate the x and y axes of a document Reflect or flip objects To the top Rotate objects Rotating an object turns it around a fixed point that you designate. The default reference point is the object’s center point. If you have multiple objects in a selection, the objects will rotate around a single reference point, which is the center point of the selection or bounding box by default.
To rotate around the center point, choose Object > Transform > Rotate, or double-click the Rotate tool. 3. Enter the rotation angle in the Angle text box. Enter a negative angle to rotate the object clockwise; enter a positive angle to rotate the object counterclockwise. 4. If the objects contain a pattern fill, select Patterns to rotate the pattern. Deselect Objects if you want to rotate the pattern but not the objects. 5. Click OK, or click Copy to scale a copy of the objects.
To the top Reflect or flip objects Reflecting an object flips the object across an invisible axis that you specify. You can reflect objects using the Free Transform tool, the Reflect tool, or the Reflect command. If you want to specify an axis from which to reflect, use the Reflect tool. To create a mirror image of an object, you can copy while reflecting. Reflect an object with the Free Transform tool 1. Select the object to reflect. 2. Select the Free Transform tool . 3.
To reflect the object around a different reference point, Alt-click (Windows) or Option-click (Mac OS) anywhere in the document window. 2. In the Reflect dialog box, select the axis across which you want the object to be reflected. You can reflect an object across a horizontal, a vertical, or an angled axis. 3. If the object contains patterns and you want to reflect the patterns, select Patterns. (To reflect only the patterns, deselect Objects.) 4. To preview the effect before you apply it, select Preview.
Layers About layers Layers panel overview Create a layer Move an object to a different layer Release items to separate layers Consolidate layers and groups Locate an item in the Layers panel To the top About layers When creating complex artwork, it’s a challenge to keep track of all the items in your document window. Small items get hidden under larger items, and selecting artwork becomes difficult. Layers provide a way to manage all the items that make up your artwork.
of the objects within the parent item are selected, the selection color boxes are the same size as the marks that appear next to selected objects. You can use the Layers panel to display some items as outlines and other items as they will appear in the final artwork. You also can dim linked images and bitmap objects to make it easier to edit artwork on top of the image. This is especially useful when tracing a bitmap image. Display options for layered artwork A. Object displayed in Outline view B.
Show Displays all artwork contained in the layer on the artboard. Print Makes the artwork contained in the layer printable. Preview Displays the artwork contained in the layer in color instead of as outlines. Dim Images Reduces the intensity of linked images and bitmap images contained in the layer to the specified percentage. To the top Create a layer 1. In the Layers panel, click the name of the layer above which (or in which) you want to add the new layer. 2.
To the top Consolidate layers and groups Merging and flattening layers are similar in that they both let you consolidate objects, groups, and sublayers into a single layer or group. With merging, you can select which items you want to consolidate; with flattening, all visible items in the artwork are consolidated in a single layer. With either option, the stacking order of the artwork remains the same, but other layer-level attributes, such as clipping masks, aren’t preserved.
Locking, hiding, and deleting objects Lock or unlock objects or layers Hide or show objects or layers Delete objects To the top Lock or unlock objects or layers Locking objects prevents you from selecting and editing them. You can quickly lock multiple paths, groups, and sublayers by locking their parent layer. To lock objects, click the edit column button (to the right of the eye icon) in the Layers panel for the object or layer you want to lock.
Select the objects and then choose Edit > Clear or Edit > Cut. Select the items you want to delete in the Layers panel, and then click the Delete icon . Alternatively, drag the item name in the Layers panel to the Delete icon in the panel, or choose Delete “Layer name” from the Layers panel menu. Deleting a layer also deletes all artwork that is in the layer. For example, if you delete a layer that contains sublayers, groups, paths, and clipping sets, all those elements will be deleted along with the layer.
Duplicating objects Duplicate objects by dragging Duplicate objects by using the Layers panel Duplicate selections using drag and drop Offset duplicate objects To the top Duplicate objects by dragging 1. Select one or more objects. 2. Select the Selection, Direct Selection, or Group Selection. 3. Alt-drag (Windows) or Option-drag (Mac OS) the selection (but not a handle on the bounding box).
2. Select the artwork you want to copy. 3. Select the Move tool and drag the selection from Photoshop into the Illustrator file. Drag and drop artwork to the desktop (Mac OS only) 1. Select the artwork you want to copy. 2. Drag the selection onto the desktop. Selections are copied to the desktop as a picture clipping, which can be dragged and dropped into the desired document. Picture clippings are converted to PICT format when dragged to the desktop.
Stacking objects Specify where to add new objects in the stacking order Change the stacking order using the Layers panel Change the stacking order using commands Specify where to add new objects in the stacking order To the top Illustrator stacks successively drawn objects, beginning with the first object drawn. How objects are stacked determines how they display when they overlap. The stacking order of objects depends on the drawing mode you are using.
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Reshaping objects 250
Transforming objects Transforming Transform panel overview Transform an object’s patterns Transform using the bounding box To the top Transforming Transforming encompasses moving, rotating, reflecting, scaling, and shearing objects. You can transform objects using the Transform panel, Object > Transform commands, and specialized tools. You can also perform many types of transformations by dragging the bounding box for a selection.
Illustrator > Preferences > General (Mac OS) and deselect Transform Pattern Tiles. To return an object’s fill pattern to its original state, fill the object with a solid color, and then reselect the desired pattern. To the top Transform using the bounding box When you select one or more objects with the Selection tool, a bounding box displays around them.
Scaling, shearing, and distorting objects Scale objects Shear objects Distort objects To the top Scale objects Scaling an object enlarges or reduces it horizontally (along the x axis), vertically (along the y axis), or both. Objects scale relative to a reference point which varies depending on the scaling method you choose. You can change the default reference point for most scaling methods, and you can also lock the proportions of an object.
Scale objects to a specific width and height 1. Select one or more objects. 2. In the Transform panel, enter a new value in the Width (W) or Height (H) box, or both. You can do any of the following before you enter a value to control the scaling behavior: To maintain the objects’ proportions, click the lock proportions button . To change the reference point for scaling, click a white square on the reference point locator .
1. Select one or more objects. 2. Select the Shear tool . 3. Do one of the following: To shear relative to the object’s center, drag anywhere in the document window. To shear relative to a different reference point , click anywhere in the document window to move the reference point, move the pointer away from the reference point, and then drag until the object is at the desired slant. To shear along the object’s vertical axis, drag anywhere in the document window in an up or down direction.
Hold down Shift+Alt+Ctrl (Windows) or Shift+Option+Command (Mac OS) to distort in perspective. Distorting in perspective Distort objects using a liquify tool You cannot use liquify tools on linked files or objects that contain text, graphs, or symbols. To find liquify tools in the Tools panel, see Tools panel overview and Reshaping tool gallery. 1. Select a liquify tool, and click or drag over the objects you want to distort. 2.
Reshape using envelopes About envelopes Distort objects using an envelope Edit the contents of an envelope Reset an envelope Remove an envelope Envelope options To the top About envelopes Envelopes are objects that distort or reshape selected objects. You can make an envelope out of an object on your artboard, or you can use a preset warp shape or a mesh grid as an envelope. You can use envelopes on any object except graphs, guides, or linked objects.
To apply a stroke or fill to an envelope, use the Appearance panel. To the top Edit the contents of an envelope 1. Select the envelope and do one of the following: Click the Edit Contents button in the Control panel. Choose Object > Envelope Distort > Edit Contents. Note: If your envelope consists of grouped paths, click the triangle to the left of the entry in the Layers panel to view and target the path you want to edit. 2. Edit it as desired.
Combining objects Methods of combining objects Pathfinder Compound shapes Compound paths To the top Methods of combining objects You can combine vector objects to create shapes in a variety of ways in Illustrator. The resulting paths or shapes differ depending on the method you use to combine the paths. Pathfinder effects Pathfinder effects let you combine multiple objects using one of ten interaction modes.
Shape modes A. All components in Add mode B. Subtract mode applied to squares C. Intersect mode applied to squares D. Exclude mode applied to squares The bottom row of buttons in the panel, called Pathfinder effects, let you create final shape combinations on the first click. (See Apply Pathfinder effects.) Pathfinder options You can set Pathfinder Options from the Pathfinder panel menu or by double-clicking a Pathfinder effect in the Appearance panel.
Add Traces the outline of all objects as if they were a single, merged object. The resulting shape takes on the paint attributes of the top object. Intersect Traces the outline of the region overlapped by all the objects. Exclude Traces all nonoverlapping areas of the objects, and makes overlapping areas transparent. Where an even number of objects overlap, the overlap becomes transparent. Where an odd number of objects overlap, the overlap becomes filled.
shape Work with compound shapes Creating a compound shape is a two-part process. First, you establish a compound shape in which all components have the same shape mode. Then, you assign shape modes to the components until you obtain the desired combination of shape areas. Create a compound shape 1. Select all the objects you want to be part of the compound shape. You can include paths, compound paths, groups, other compound shapes, blends, text, envelopes, and warps in a compound shape.
Compound paths act as grouped objects and appear as items in the Layers panel. Use the Direct Selection tool or the Group Selection tool to select part of a compound path. You can manipulate the shape of individual components of a compound path, but you cannot change appearance attributes, graphic styles, or effects for individual components, and you cannot manipulate components individually in the Layers panel.
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Cutting and dividing objects Methods for cutting, dividing, and trimming objects Cut objects with the Divide Objects Below command Cut objects with the Knife tool Divide an object into a grid Methods for cutting, dividing, and trimming objects To the top Illustrator provides the following methods to cut, divide, and trim objects: Divide Objects Below command Acts as a cookie cutter or stencil, using a selected object to cut through other objects, discarding the original selection.
To add guides along the row and column edges, select Add Guides. 5. Click OK.
Clipping masks About clipping masks Drawing Enhancements Illustrator CS5 Hide parts of objects with a clipping mask Create a clipping mask for a group or layer Edit a clipping mask Edit paths within a clipping set Add or remove an object from masked artwork Release objects from a clipping mask To the top About clipping masks A clipping mask is an object whose shape masks other artwork so that only areas that lie within the shape are visible—in effect, clipping the artwork to the shape of the mask.
Create a clipping mask for a group or layer 1. Create the object you want to use as the mask. This object is called the clipping path. Only vector objects can be clipping paths. 2. Move the clipping path and the objects you want to mask into a layer or group. 3. In the Layers panel, make sure that the masking object is at the top of the group or layer, and then click the name of the layer or group. 4.
Creating shapes using Shape BuilderTool | CS6, CS5 To create a shape using the Shape Builder tool, do the following: 1. Create the shapes on which you want to apply the Shape Builder tool. 2. Using the Selection tool, select the paths that you need to merge to create the shape. Note: Make sure that you select only those paths on which you need to apply the tool. If you select all the paths before merging, then there would be a performance overhead. 3.
Pressing Shift+click+drag displays a rectangular marquee, which allows you to easily merge multiple paths. 7. To use the Erase mode of the Shape Builder tool, press the Alt key (Windows) or the Option key (Mac OS) and click the closed region that you want to delete. When you press the Alt key (Windows) or Option key (Mac OS), the pointer changes to . In Erase mode, you can delete regions within selected shapes.
Blending objects About blended objects Create blends Blend options Change the spine of a blended object Reverse the stacking order in a blended object Release or expand a blended object To the top About blended objects You can blend objects to create and distribute shapes evenly between two objects. You can also blend between two open paths to create a smooth transition between objects, or you can combine blends of colors and objects to create color transitions in the shape of a particular object.
between two instances of different symbols, the blended steps will not be symbol instances. By default, blends are created as knockout transparency groups, so that if any of the steps consist of overlapping transparent objects, these objects will not show through each other. You can change this setting by selecting the blend and deselecting Knockout Group in the Transparency panel.
Align to Path option applied to a blend To the top Change the spine of a blended object The spine is the path along which the steps in a blended object are aligned. By default, the spine forms a straight line. To adjust the shape of the spine, drag the anchor points and path segments on the spine with the Direct Selection tool. To replace the spine with a different path, draw an object to use as the new spine. Select the spine object and the blended object, and choose Object > Blend > Replace Spine.
Building new shapes using the Shape Builder tool About the Shape Builder Tool Setting the Shape Builder tool options To the top About the Shape Builder Tool The Shape Builder tool compound paths. is an interactive tool for creating complex shapes by merging and erasing simpler shapes. It works on simple and It intuitively highlights edges and regions of the selected art, which can be merged to form new shapes.
the gaps in the art are detected. For example, if you set the gap length to 12 points, whereas the shape that you need to merge contains gaps at 3 points, Illustrator may not detect the gaps. The highlighted area shows that the gap is detected and is considered as a region Consider Open Filled Paths as Closed If this option is selected, an invisible edge is created for an open path to make a region. When you click inside the region, a shape is created.
Creating 3D objects Create 3D objects Set options Add a custom bevel path Rotate an object in three dimensions Map artwork to a 3D object Note: 3D tools are independent of the Perspective Grid tools and 3D objects are treated like any other object in perspective. To the top Create 3D objects 3D effects enable you to create three-dimensional (3D) objects from two-dimensional (2D) artwork. You can control the appearance of 3D objects with lighting, shading, rotation, and other properties.
Extruded object without a beveled edge (left) compared to object with Bevel Extent In (middle) and with Bevel Extent Out (right) Create a 3D object by revolving Revolving sweeps a path or profile in a circular direction around the global y axis (revolve axis) to create a 3D object.
Enter values between –180 and 180 in the horizontal (x) axis , vertical (y) axis , and depth (z) axis text boxes. To adjust the perspective, enter a value between 0 and 160 in the Perspective text box. A smaller angle is similar to a telephoto camera lens; a larger lens angle is similar to a wide-angle camera lens. Note: A lens angle that is higher than 150 may result in objects extending beyond your point of view and appearing distorted.
Plastic Shading Makes the object reflect light as if it were made of a shiny, high-gloss material. Note: Depending on what option you choose, different lighting options are available. If the object only uses the 3D Rotate effect, the only Surface choices available are Diffuse Shading or No Shading. Light Intensity Controls the light intensity between 0% and 100%. Ambient Light Controls the global lighting, which changes the brightness of all the object’s surfaces uniformly.
To the top Add a custom bevel path 1. Open the Bevels.ai file, which is located in the Adobe Illustrator CS5\Support Files\Required\Resources\en_US\ folder (Windows) or Adobe Illustrator CS5\Required\Resources\en_US folder ((Mac OS). 2. Create a single open path in the Bevels.ai file. 3. Choose Window > Symbols, and do one of the following to make the path a symbol: Drag the path to the Symbols panel.
surfaces that are mapped with it. You can interact with the symbol in the Map Art dialog box with normal bounding box controls to move, scale, or rotate the object. The 3D effect remembers each mapped surface on an object as a number. If you edit the 3D object or apply the same effect to a new object, there may be fewer or more sides than the original. If there are fewer surfaces than the number of surfaces defined for the original mapping, the extra artwork will be ignored.
Reshaping objects with effects Reshaping objects with effects Round the corners of objects To the top Reshaping objects with effects Using effects is a convenient way to reshape objects without making permanent changes to their underlying geometry. Effects are live, which means that you can modify or remove the effect at any time. You can use the following effects to reshape objects: Convert To Shape Converts the shape of vector objects to a rectangle, rounded rectangle, or ellipse.
Importing, exporting, and saving 283
Adobe PDF options Setting Adobe PDF options About PDF/X standards PDF compatibility levels General options for PDF Compression and downsampling options for PDF Mark and bleed options for PDF Color management and PDF/X options for PDF Font and flattening options for PDF Adding security to PDF files Security options Adobe PDF options are divided into categories. Changing any option causes the name of the preset to change to Custom.
Reader 3.0 and later. Reader 3.0 and later. However, features specific to later versions may be lost or not viewable. Reader 4.0 and later. However, features specific to later versions may be lost or not viewable. Reader 4.0 and later. However, features specific to later versions may be lost or not viewable. Cannot contain artwork that uses live transparency effects. Any transparency must be flattened prior to converting to PDF 1.3. Supports the use of live transparency in artwork.
Subsampling Chooses a pixel in the center of the sample area and replaces the entire area with that pixel color. Subsampling significantly reduces the conversion time compared with downsampling but results in images that are less smooth and continuous. Bicubic Downsampling Uses a weighted average to determine pixel color, which usually yields better results than the simple averaging method of downsampling. Bicubic is the slowest but most precise method, resulting in the smoothest gradations.
Convert To Destination Converts all colors to the profile selected for Destination. Whether the profile is included or not is determined by the Profile Inclusion Policy. Note: When Convert to Destination is selected, and the Destination doesn’t match the document profile, a warning icon appears beside the option. Destination Describes the gamut of the final RGB or CMYK output device, such as your monitor or a SWOP standard.
possible to open the file in a view-only mode. Permissions Password Specify a password that is required to change the permissions settings. This option is available only if the previous option is selected. Printing Allowed Specifies the level of printing that users are allowed for the PDF document. None Prevents users from printing the document. Low Resolution (150 dpi) Lets users print at no higher than 150-dpi resolution. Printing may be slower because each page is printed as a bitmap image.
Creating Adobe PDF files About Adobe PDF Create Adobe PDF files Adobe PDF presets Customize PDF presets Load PDF presets To the top About Adobe PDF Portable Document Format (PDF) is a universal file format that preserves the fonts, images, and layout of source documents created on a wide range of applications and platforms. Adobe PDF is the standard for the secure, reliable distribution and exchange of electronic documents and forms around the world.
4. Either choose a preset from the Adobe PDF Preset menu, or select a category from the list on the left of the dialog box and then customize the options. 5. Click Save PDF. To reset options to the default, hold down Alt (Windows) or Option (Mac OS) and click Reset. Create a multiple-page Adobe PDF 1. Create multiple artboards in a document. 2. Choose File > Save As, and select Adobe PDF forSave As Type. 3. Do one of the following: To save all of the artboards to one PDF, select All.
Support/Adobe/Adobe PDF/Settings. Review your PDF settings periodically. The settings do not automatically revert to the default settings. Applications and utilities that create PDFs use the last set of PDF settings defined or selected. High Quality Print Creates PDFs for quality printing on desktop printers and proofing devices. This preset uses PDF 1.
To edit an existing custom preset, select the preset and click Edit. (You cannot edit the default presets.) To delete a preset, select it and click Delete. To save a preset in a location other than the default Settings folder in the Adobe PDF folder, select it and click Save As. Specify a location and click Save. 3. Set the PDF options, and click OK. Alternatively, you can create a custom preset when you save a PDF file by clicking Save Preset at the bottom of the Save Adobe PDF dialog box.
Exporting artwork Export artwork File formats for exporting artwork AutoCAD export options Flash export options JPEG export options Photoshop export options PNG export options TIFF export options To the top Export artwork 1. Choose File > Export. 2. Select a location for the file, and enter a filename. 3. Select a format from the Save As Type (Windows) or Format (Mac OS) pop-up menu. 4. Click Save (Windows) or Export (Mac OS).
transparency in grayscale and RGB images. For more information, see PNG export options. You can also save an image as a PNG file using the Save For Web & Devices command. Targa (TGA) Designed for use on systems that use the Truevision® video board. You can specify a color model, resolution, and anti-alias setting for rasterizing the artwork, as well as a bit depth to determine the total number of colors (or shades of gray) that the image can contain.
Dynamic Text and Input Text aren’t available in version 3 and earlier. Clip To Artboard Size Exports the Illustrator artwork within the selected artboard’s borders) to the SWF file. Any artwork outside the borders will be clipped off. This option is checked and disabled when exporting multiple artboards. Preserve Appearance Select Preserve Appearance to flatten artwork to a single layer before export. Selecting this option limits the editability of the file.
Imagemap Generates code for image maps. If you select this option, select Client-side (.html) or Server-side (.map) to determine the type of file that is generated. Embed ICC Profiles Saves ICC profiles in the JPEG file. Optimize an image for the web About color profiles To the top Photoshop export options If your document contains multiple artboards, specify how to export the artboards before you click Save (Windows) or Export (Mac OS) in the Export dialog box.
produce a smaller file. Byte Order Determines the appropriate sequence of bytes for writing the image file, based on the platform you choose. Illustrator and most recent applications can read files using the byte order for either platform. However, if you don’t know what kind of program the file may be opened in, select the platform on which the file will be read. Embed ICC Profiles Creates a color-managed document.
File information and metadata Document Info panel overview Metadata is a set of standardized information about a file, such as author name, resolution, color space, copyright, and keywords applied to it. File information found in the Document Info panel provides general file information and object characteristics, as well as the number and names of graphic styles, custom colors, gradients, fonts, and placed art.
Importing Adobe PDF files Importing Adobe PDF files Adobe PDF placement options Importing monotone, duotone, and tritone images from Adobe PDF files To the top Importing Adobe PDF files Adobe Portable Document Format (PDF) is a versatile file format that can represent both vector and bitmap data. You can bring artwork from PDF files into Illustrator using the Open command, the Place command, the Paste command, and the drag-and-drop feature.
Importing EPS, DCS, and AutoCAD files Importing EPS files Importing DCS files Importing AutoCAD files To the top Importing EPS files Encapsulated PostScript (EPS) is a popular file format for transferring vector artwork between applications. You can bring artwork from EPS files into Illustrator using the Open command, the Place command, the Paste command, and the drag-and-drop feature.
import, and whether to center the artwork. Illustrator supports most AutoCAD data, including 3D objects, shapes and paths, external references, region objects, spline objects (mapped to Bezier objects that retain the original shape), raster objects, and text objects. When importing an AutoCAD file that contains external references, Illustrator reads the contents of the reference and places it at the appropriate locations in the Illustrator file.
Importing artwork files About linked and embedded artwork Place (import) files Embedded and linked artwork in the Links panel Edit original artwork You don’t have to create artwork from scratch in Adobe Illustrator—you can import both vector drawings and bitmap images from files created in other applications. Illustrator recognizes all common graphic file formats.
Links panel A. Transparency interaction B. Missing artwork C. Embedded artwork D. Modified artwork E. Linked artwork File status options for the Links panel A linked file can appear in the Links panel in any of the following ways: Up-to-date An up-to-date file displays only the file’s name and (in Adobe® InDesign®) its page in the document. Modified A modified file is one for which the version of the file on disk is more recent than the version in your document.
choose Update Link. Note: By default, Illustrator prompts you to update a link if the source file changes. To specify that you want to update links automatically or manually, choose Edit > Preferences > File Handling & Clipboard (Windows) or Illustrator > Preferences > File Handling & Clipboard (Mac OS), and set the Update Links option.
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Importing artwork from Photoshop Importing artwork from Photoshop Photoshop import options Move part of an image from Photoshop to Illustrator Move paths from Photoshop to Illustrator To the top Importing artwork from Photoshop You can bring artwork from Photoshop (PSD) files into Illustrator using the Open command, the Place command, the Paste command, and the drag-and-drop feature. Illustrator supports most Photoshop data, including layer comps, layers, editable text, and paths.
1. In Photoshop, select the pixels you want to move. For more information, see Photoshop Help. 2. Do one of the following: Copy the selection in Photoshop and paste it in Illustrator. If a layer mask is active when you choose the Copy command, Photoshop copies the mask rather than the main layer. Select the Move tool in Photoshop, and drag the selection to Illustrator. Illustrator fills transparent pixels with white. To the top Move paths from Photoshop to Illustrator 1.
Importing bitmap images About bitmap images Image resolution guidelines for final output To the top About bitmap images Bitmap images—technically called raster images—use a rectangular grid of picture elements (pixels) to represent images. Each pixel is assigned a specific location and color value. When working with bitmap images, you edit pixels rather than objects or shapes.
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Saving artwork About saving artwork Save in Illustrator format Save in EPS format Save in SVG format Save artwork for Microsoft Office Changing vector graphics to bitmap images To the top About saving artwork When you save or export artwork, Illustrator writes the artwork data to a file. The structure of the data depends on the file format that you select. There are five basic file formats—AI, PDF, EPS, FXG, and SVG—to which you can save artwork.
artboard used for the saved file is based on the size of the default document startup profile. Transparency options Determines what happens to transparent objects when you choose a version of Illustrator format earlier than 9.0. Select Preserve Paths to discard transparency effects and reset transparent artwork to 100% opacity and Normal blending mode. Select Preserve Appearance And Overprints to preserve overprints that don’t interact with transparent objects.
gradient meshes by converting gradient objects to JPEG format. Selecting this option can slow printing on printers that don’t have problems with gradients. Adobe PostScript® Determines what level of PostScript is used to save the artwork. PostScript Language Level 2 represents color as well as grayscale vector and bitmap images, and supports RGB, CMYK, and CIE-based color models for both vector and bitmap graphics.
Glyphs Used, Common Roman, Common Roman+ Glyphs Used, All Glyphs) are useful when the textual content of the SVG file is dynamic (such as server-generated text or user-interactive text). Image Location Determines whether raster images are embedded directly in the file or linked to the exported JPEG or PNG images from the original Illustrator file. Embedding images increases file size but ensures that rasterized images will always be available.
About rasterization Rasterization is the process of changing a vector graphic to a bitmap image. During rasterization, Illustrator converts the graphic’s paths into pixels. The rasterization options you set determine the size and other characteristics of the resulting pixels. You can rasterize individual vector objects using the Object > Rasterize command or the Rasterize effect. You can also rasterize an entire document by exporting it to a bitmap format, such as JPEG, GIF, or TIFF.
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Importing and exporting text Importing text Exporting text To the top Importing text You can import text into your artwork from a file that was created in another application.
export all objects in a thread, make sure that you select and tag each one. Overflow text is imported into Flash Player intact. Once you tag text, you can import it into Flash by either exporting the text from Illustrator or copying and pasting the text. For a video on using text effectively between Illustrator and Flash, see www.adobe.com/go/vid0199. Note: Tagging or untagging text does not change the original text in Illustrator. You can change the tag at anytime without altering the original. 1.
Creating text Enter text at a point Enter text in an area Manage the text area Create rows and columns of text Fit a headline across the full width of a type area Threading text between objects Wrap text around an object Align type to object Delete empty type objects from your artwork To the top Enter text at a point Point type is a horizontal or vertical line of text that begins where you click and expands as you enter characters.
Creating a type area by dragging (top) compared to converting an existing shape to a type area (bottom) Note: If the object is an open path, you must use the Area Type tool to define the bounding area. Illustrator draws an imaginary line between the endpoints of the path to define the boundaries. 2. (Optional) Set text-formatting options in the Control panel, Character panel, or Paragraph panel. 3. Enter the text. Press Enter or Return to begin a new paragraph. 4.
Select the type object using the Selection tool or Layers panel, and drag a handle on the bounding box. Resizing a text area with the Selection tool Select the edge or corner of the type path with the Direct Selection tool . Then drag to adjust the shape of the path. Adjusting the type path using the Direct Selection tool is easiest when you’re in Outline view.
Type with First Baseline set to Cap Height (left) compared to type with First Baseline set to Leading (right) 1. Select an area type object. 2. Choose Type > Area Type Options. 3. For First Baseline, choose one of the following options: Ascent The height of the “d” character falls below the top of the type object. Cap Height The tops of uppercase letters touch the top of the type object.
To the top Fit a headline across the full width of a type area 1. Select a type tool, and click in the paragraph you want to fit across the type area. 2. Choose Type > Fit Headline. Note: If you change the formatting of the type, be sure to reapply the Fit Headline command. To the top Threading text between objects To thread (or continue) text from one object to the next, you link the objects.
Text wrapped around objects A. Wrap objects B. Wrapped text Wrap text 1. Make sure that the following conditions are true for the type you want to wrap: It is area type (typed in a box). It is in the same layer as the wrap object. It is located directly under the wrap object in the layer’s hierarchy. Important: If the layer contains multiple type objects, move any that you don’t want to wrap around the wrap object either into another layer or above the wrap object. 2.
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Creating type on a path Enter text on a path Move or flip text along a path Apply effects to type on a path Adjust the vertical alignment of type on a path Adjust character spacing around sharp turns Type on a path flows along the edge of an open or a closed path. When you enter text horizontally, the characters are parallel to the baseline. When you enter text vertically, the characters that are perpendicular to the baseline.
Moving type along a path To flip the direction of text along a path, drag the bracket across the path. Alternatively, choose Type > Type On A Path > Type On A Path Options, select Flip, and click OK. Flipping type along a path To move type across a path without changing the direction of the type, use the Baseline Shift option in the Character panel.
Path type effects A. Rainbow B. Skew C. 3D Ribbon D. Stair Step E. Gravity To the top Adjust the vertical alignment of type on a path 1. Select the type object. 2. Choose Type > Type On A Path > Type On A Path Options. 3. Choose an option from the Align To Path menu to specify how to align all characters to the path, relative to a font’s total height: Ascender Aligns along the font’s top edge. Descender Aligns along the font’s bottom edge.
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Scaling and rotating type Selecting type for transformations Adjust the scale of type Rotate type To the top Selecting type for transformations You can rotate, reflect, scale, and shear type just as you do other objects. However, how you select the type affects the transformation results: To transform the type along with its bounding path, select the type object and use the Rotate tool to rotate the object and text.
Spelling and language dictionaries Check spelling Edit the spelling dictionary Assign languages to text About Unicode To the top Check spelling 1. Choose Edit > Check Spelling. 2. To set options for finding and ignoring words, click the arrow icon at the bottom of the dialog box and set the options as desired. 3. Click Start to begin checking the spelling. 4.
Assign a language to selected text 1. Select the text. 2. In the Character panel, choose the appropriate dictionary from the Language menu. If the Language menu isn’t showing, choose Show Options from the Character panel menu. To the top About Unicode Illustrator supports Unicode, a standard that assigns a unique number to every single character, no matter which language or type of computer you use.
Fonts About fonts OpenType fonts Previewing fonts Select a font family and style Specify a typeface size Find and replace fonts Work with missing fonts To the top About fonts A font is a complete set of characters—letters, numbers, and symbols—that share a common weight, width, and style, such as 10 -pt Adobe Garamond Bold. Typefaces (often called type families or font families) are collections of fonts that share an overall appearance, and are designed to be used together, such as Adobe Garamond.
OpenType Type 1 TrueType Multiple Master Composite You can turn off the preview feature or change the point size of the font names or font samples in Type preferences. To the top Select a font family and style 1. Select the characters or type objects you want to change. If you don’t select any text, the font applies to new text you create. 2. Select a font family and style using the Control panel, Type menu, or Character panel: In the Control panel, set the Font and Font Style options.
To the top Work with missing fonts If a document uses fonts not installed on your system, an alert message appears when you open it. Illustrator indicates which fonts are missing and substitutes missing fonts with available matching fonts. To substitute missing fonts with a different font, select the text that uses the missing font and apply any other available font.
Arabic and Hebrew type Adobe World-Ready Composers Text direction Digit Types Legacy font support Default fonts Automatic Kashida insertion Ligatures Copy-paste from Microsoft Word Hyphenation Find and replace Diacritical marks Glyphs New and improved features for working in Arabic and Hebrew are available in the Middle East and North African edition of this software. To the top Adobe World-Ready Composers Adobe World-Ready composers enable you to create content in middle-eastern languages.
To create content in Arabic and Hebrew, enable right-to-left (RTL) text direction. While RTL is the default direction of text, many documents also include left-to-right (LTR) text. You can seamlessly switch between the two directions. Select the paragraph direction from the Paragraph panel. Paragraph direction selection If you have a mix of languages in the same paragraph, you can specify the direction of text at a character level.
To the top Legacy font support Fonts that have been traditionally used (for example, AXT fonts) can continue to be used in this release of the software. However, it is recommended that newer Open Type fonts be used for text-based elements. Missing Glyph Protection (Edit > Preferences > Advanced Type) is enabled by default. Text is handled automatically, where glyphs are not available in the font you are using.
Enable automatic ligatures To the top Copy-paste from Microsoft Word You can copy text from Microsoft Word, and paste it directly into a document. The pasted text's alignment and direction is automatically set to that of the arabic or hebrew text. To the top Hyphenation Sentences that have more words that can fit into one line of text automatically wrap into the next line.
Illustrator: Edit > Find and Replace In InDesign, you can use the Transliterate tab (Edit > Find/Change) to find and replace digits between Arabic, Hindi, and Farsi. For example, you can find digits typed in Hindi and convert them to Arabic. To the top Diacritical marks In the Arabic script, a diacritic or a diacritical mark is a glyph used to indicate consonant length or short vowels. A diacritical mark is placed above or below the script.
Character and paragraph styles About character and paragraph styles Create character or paragraph styles Edit character or paragraph styles Remove style overrides Delete character or paragraph styles Load character and paragraph styles from another Illustrator document To the top About character and paragraph styles A character style is a collection of character-formatting attributes that you can apply to a selected range of text.
type. If you don’t want to apply the style, hold down Shift+Ctrl (Windows) or Shift+Command (Mac OS) when you doubleclick the style name. 2. On the left side of the dialog box, select a category of formatting options and set the options you want. You can switch to a different group of formatting options by selecting a different category. If you need more information about any of the formatting options, search for the option name in Help. 3. When you finish setting options, click OK.
Creating composite fonts Create a composite font Customize characters in a composite font Delete a composite font Export a composite font You can mix characters from Japanese and roman fonts and use them as one composite font. Composite fonts are displayed at the beginning of the font list. Composite fonts must be based on Japanese fonts. For example, you cannot create fonts that include Chinese or Korean fonts, nor can you use Chinese or Korean-based composite fonts copied from another application.
Font attributes A. Font Family B. Font Style C. Size D. Baseline E. Vertical Scale F. Horizontal Scale G. Scale at Center 7. To view a sample of the composite font, click Show Sample. You can change the sample in the following ways: Click the buttons on the right side of the sample to show or hide lines indicating the ICF Box , Cap Height , Max Ascent/Descent , Max Ascender , and x-height , Embox , Baseline . Choose a magnification level from the Zoom pop-up menu. 8.
To add a character directly, choose Direct Entry from the Character pop-up menu, enter the characters in the box, and click Add. To add a character using a code, choose an encoding type from the Character pop-up menu, enter the code, and click Add. Note: You cannot add 32-bit characters to a custom set. To delete a character, select it in the list box, and click Delete. 5. When you’ve finished customizing the character set, click Save, and then click OK.
Formatting Asian characters Display Asian type options Set Asian OpenType font attributes Replace Asian characters with a different glyph form Specify how leading is measured in Asian type Rotate half-width characters in vertical text Use tate-chu-yoko Use aki Use warichu Align Asian characters with mojisoroe Use mojikumi Use kinsoku Specify a burasagari option Use kurikaeshi moji shori Illustrator provides a variety of options for formatting Asian characters.
JIS 04 Forms Replaces the selected characters with JIS 04 forms. JIS 90 Forms Replaces the selected characters with JIS 90 forms. JIS 78 Forms Replaces the selected characters with JIS 78 forms. JIS 83 Forms Replaces the selected characters with JIS 83 forms. Monospaced Half-Width Forms Changes the glyphs of the selected Latin characters to monospace hankaku (half width). Monospaced Third-Width Forms Changes the glyphs of the selected Latin characters to monospace third width.
Note: If the Tate-chu-yoko option isn’t showing, you need to select Show Asian Options in the Type preferences. To the top Use aki Aki is the white space before or after a character. Usually, fixed spacing is applied between the characters based on the mojikumi setting for a paragraph. You can change the mojikumi setting for special characters using the Insert Aki options in the Character panel. For example, to add a space before an opening parenthesis, use the Insert Aki (Left) option.
Alignment Specifies the alignment of warichu characters. For example, in a vertical frame grid, selecting Top will align the beginning of the warichu characters at the top of the frame. The alignment proxy shows how the warichu text appears relative to the parent text. Line Breaking Options Specifies the minimum number of characters required before and after the line breaks to start a new line. To the top Align Asian characters with mojisoroe Mojisoroe is the alignment of characters in Asian type.
YakumonoHankaku (left) and GyoumatsuYakumonoHankaku (right) GyoumatsuYakumonoZenkaku Uses full-width spacing for most characters and the last character in the line. YakumonoZenkaku Uses full-width spacing for punctuation. GyoumatsuYakumonoZenkaku (left) and YakumonoZenkaku (right) Create a mojikumi set 1. Do one of the following: Choose Type > Mojikumi Settings. Choose Mojikumi Settings from the Mojikumi Set pop-up menu in the Paragraph panel. 2. Click New in the Mojikumi Settings dialog box. 3.
Choose Type > Kinsoku Shori Settings. Choose Kinsoku Settings from the Kinsoku Set pop-up menu in the Paragraph panel. 2. In the Kinsoku Shori Settings dialog box, click New Set. 3. Enter a name for the kinsoku set, specify the existing set on which the new set will be based, and click OK. 4. To add a character to a field, select the field, and do one of the following: Enter a character in the Input box, and click Add.
Text without Kurikaeshi Moji Shori option (left) compared to text with Kurikaeshi Moji Shori option (right) 1. Using any type tool, select a paragraph of text to which you want to apply repeated character processing. If no text exists, the setting applies to new text typed. 2. In the Paragraph panel, select Kurikaeshi Moji Shori from the panel menu.
Formatting paragraphs Paragraph panel overview Align text Justify text Adjust word and letterspacing in justified text Indent text Adjust paragraph spacing Hanging punctuation To the top Paragraph panel overview You use the Paragraph panel (Window > Type > Paragraph) to change the formatting of columns and paragraphs. When type is selected or when the Type tool is active, you can also use options in the Control panel to format paragraphs.
justified type, although you can also adjust spacing for unjustified type. 1. Insert the cursor in the paragraph you want to change, or select a type object or frame to change all of its paragraphs. 2. Choose Justification from the Paragraph panel menu. 3. Enter values for Word Spacing, Letter Spacing, and Glyph Spacing. The Minimum and Maximum values define a range of acceptable spacing for justified paragraphs only.
In a hanging indent, all the lines in a paragraph are indented except for the first line. Hanging indents are especially useful when you want to add inline graphics at the beginning of the paragraph, or when you want to create a bulleted list. No indent (left) and hanging indent (right) 1. Using the Type tool , click in the paragraph you want to indent. 2. In the Control panel or the Tabs panel, specify a left indent value greater than zero. 3.
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Formatting type Selecting type Find and replace text Change the color and appearance of characters Character panel overview Underline or strike through text Apply all caps and small caps Change capitalization styles Specify curly or straight quotes Set anti-aliasing options for type Creating superscripts or subscripts Convert type to outlines Choose a number style in OpenType fonts Format fractions and ordinals in OpenType fonts Use smart punctuation To the top Selecting type Selecting characters lets yo
1. Select the Direct Selection tool or the Group Selection tool . 2. If the type object is selected, click outside the object’s bounding box to deselect it. 3. Click the type path, being careful not to click the characters. (If you do click a character, you will select the type object instead of the type path.) Note: The Type Object Selection By Path Only preference determines the sensitivity of the selection tools when selecting type objects in the document window.
Character panel A. Font B. Font Style C. Font Size D. Kerning E. Horizontal Scale F. Baseline Shift G. Leading H. Tracking I. Vertical Scale J. Character Rotation K. Language A. Font B. Font Style C. Font Size D. Align left E. Align center F. Align right By default, only the most commonly used options are visible in the Character panel. To show all options, choose Show Options from the options menu. Alternatively, click the double triangle on the panel’s tab to cycle through the display sizes.
UPPERCASE to change all characters to uppercase. Note: The UPPERCASE command causes discretionary ligatures to revert to normal text. This also occurs with the Title Case and Sentence Case commands when a discretionary ligature appears at the beginning of a word. lowercase to change all characters to lowercase. Title Case to capitalize the first letter of each word. Sentence Case to capitalize the first letter of each sentence. Note: The Sentence Case command assumes that the period (.
Superscript and Subscript options in the Character panel menu A. CALLOUT_DEFINITION B. CALLOUT_DEFINITION C. CALLOUT_DEFINITION Create superscripts or subscripts in OpenType fonts 1. Select the characters you want to change to superscript or subscript. If you don’t select any text, the setting applies to new text you create. 2. Make sure that an OpenType font is selected. One way to determine if a font is an OpenType font is to look in the Type > icon. Font menu; OpenType fonts display the 3.
them optimally at a wide range of sizes. If you plan to scale the type, adjust its point size before converting. You must convert all the type in a selection; you cannot convert a single letter within a string of type. To convert a single letter into an outline, create a separate type object containing only that letter. 1. Select the type object. 2. Choose Type > Create Outlines. To the top Choose a number style in OpenType fonts 1.
6. Click OK to search for and replace selected characters.
Hyphenation and line breaks Adjust hyphenation automatically Use the hyphenation dictionary Prevent words from breaking Composition methods You can specify how words and lines break by adjusting hyphenation settings automatically, or by using the hyphenation dictionary. Illustrator uses the same composition methods for line and word breaks that is used in Adobe InDesign. For more information on using these features, see web Help.
To the top Composition methods The appearance of type on the page depends on a complex interaction of processes called composition. Using the word spacing, letterspacing, glyph spacing, and hyphenation options you’ve selected, Adobe applications evaluate possible line breaks and choose the one that best supports the specified parameters. You can choose between two composition methods: the Adobe Every-line Composer and the Adobe Single-line Composer.
Line and character spacing Set the leading Shift the baseline Kern and track Turn fractional character widths off or on To the top Set the leading The vertical space between lines of type is called leading (rhymes with sledding). Leading is measured from the baseline of one line of text to the baseline of the line above it. Baseline is the invisible line on which most letters sit.
Kerning and tracking options A. Original text B. Text with optical kerning C. Text with manual kerning between W and a D. Text with tracking E. Cumulative kerning and tracking You can also use manual kerning, which is ideal for adjusting the space between two letters. Tracking and manual kerning are cumulative, so you can first adjust individual pairs of letters, and then tighten or loosen a block of text without affecting the relative kerning of the letter pairs.
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Special characters About character sets and alternate glyphs Glyphs panel overview Insert or replace a character using the Glyphs panel OpenType panel overview Highlight alternate glyphs in the text Use ligatures and contextual alternates Use swashes, titling alternates, or stylistic alternates Show or hide nonprinting characters To the top About character sets and alternate glyphs Typefaces include many characters in addition to the ones you see on your keyboard.
Pop-up menu for alternate glyphs For a video on working with the Glyphs panel and the OpenType panel, see www.adobe.com/go/vid0048. Insert or replace a character using the Glyphs panel To the top 1. To insert a character, click with a type tool to place the insertion point where you want to enter the character, and then double-click the character you want to insert in the Glyphs panel. 2.
3. In the OpenType panel, do any of the following: Click the Standard Ligatures button to enable or disable ligatures for standard letter pairs (such as fi, fl, ff, ffi, and ffl). Click the Discretionary Ligatures button to enable or disable optional ligatures (if available in the current font). Click the Contextual Alternates button to enable or disable contextual alternates (if available in the current font).
Tabs Tabs panel overview Set tabs Repeat tabs Move tabs Remove tabs Specify characters for decimal tabs Add tab leaders You use the Tabs panel (Window > Type > Tabs) to set tab stops for a paragraph or type object. For more information on using and setting tabs, see web Help. To the top Tabs panel overview You use the Tabs panel (Window > Type > Tabs) to set tab stops for a paragraph or type object. Tabs panel A. Tab alignment buttons B. Tab position C. Tab leader box D. Align On box E. Panel menu F.
Bottom-Justified Tab to align vertical text to the bottom margin, keeping the top margin ragged. Top-Justified Tab to align vertical text to the top margin, keeping the bottom margin ragged. Decimal-Justified Tab to place text in alignment with a specified character, such as a period or a dollar sign. This option is useful for creating columns of numbers. You can change the alignment of any tab by simply selecting it and clicking one of these buttons. 3.
Text aligned using a decimal tab To the top Add tab leaders A tab leader is a repeated pattern of characters, such as a series of dots or dashes, between a tab and the following text. 1. In the Tabs panel, select a tab stop on the ruler. 2. Type a pattern of as many as eight characters in the Leader box, and then press Enter or Return. The characters you entered repeat across the width of the tab. 3.
Text and type Among the most powerful aspects of Adobe Illustrator are its type features. You can add a single line of type to your artwork, create columns and rows of text, flow text into a shape or along a path, and work with letterforms as graphic objects. The fonts you choose and the settings you select in Illustrator for leading, kerning, and spacing before and after paragraphs are examples of decisions you can make about the appearance of the text in your artwork.
Updating text from Illustrator 10 Updating type created in Illustrator 10 Update all legacy text in a document Update selected legacy text Type objects created in Illustrator 10 and earlier are uneditable until you update them for use in later versions. After you update you have access to all the text features in Illustrator CS5, such as paragraph and character styles, optical kerning, and full OpenType® font support.
Creating special effects 376
Appearance attributes About appearance attributes Appearance panel overview Specify how appearance attributes are applied to new objects Targeting items for appearance attributes Manage appearance attributes You can change the appearance of any object, group, or layer in Adobe Illustrator by using effects and the Appearance and Graphic Styles panels. In addition, you can divide an object into its essential parts to modify elements of the object independently.
1. Double-click the Characters item in the Appearance panel. Note: To see individual character attributes for text with mixed appearance, select the individual character. 2. Click Type at the top of the panel to return to the main view. Turn an attribute on or off for selected object To turn an individual attribute on or off, click the eyeball icon next to the attribute. To turn all hidden attributes on, choose Show All Hidden Attributes from the Appearance panel menu.
To the top Manage appearance attributes Edit or add an appearance attribute You can open an appearance attribute, such as an effect, and change the settings at any time. In the Appearance panel, do any of the following: To edit an attribute, click the blue underlined name of the attribute, and specify changes in the dialog box that appears. To edit a fill color, click the fill row and choose a new color from the color box. To add a new effect, click Add New Effect .
Copy appearance attributes between objects You can copy or move appearance attributes by dragging or by using the Eyedropper tool. Copy appearance attributes by dragging 1. Select the object or group (or target the layer in the Layers panel) whose appearance you want to copy. 2. Do one of the following: Drag the thumbnail at the top of the Appearance panel onto an object in the document window. If a thumbnail isn’t showing, choose Show Thumbnail from the panel menu.
Working with effects About effects Apply an effect About raster effects Rasterization options Applying effects to bitmap images Improving performance for effects Modify or delete an effect To the top About effects Illustrator includes a variety of effects, which you can apply to an object, group, or layer to change its characteristics. Illustrator CS3 and earlier included effects and filters, but now Illustrator includes only effects (with the exception of SVG Filters).
Halftone Pattern effect before and after the resolution value changes from 300 ppi to 150ppi You set rasterization options for a document by choosing Effect > Document Raster Effects Settings. (See Rasterization options.) If an effect looks good on-screen, but loses detail or appears jagged when printed, increase the document raster effects resolution. To the top Rasterization options You can set the following options for all raster effects in a document or when you rasterize a vector object.
Some effects can be memory-intensive, especially when applied to a high-resolution bitmap image. To the top Improving performance for effects Some effects are very memory-intensive. The following techniques can help improve performance when applying these effects: Select the Preview option in effect dialog boxes to save time and prevent unintended results. Change the settings. Some commands, such as Glass, are extremely memory-intensive. Try different settings to increase their speed.
Summary of effects Effects quick reference Artistic effects Blur effects Brush Strokes effects Distort effects (bottom of menu) Pixelate effects Sharpen effect Sketch effects Stylize effect (bottom of menu) Texture effects Video effects Use texture and glass surface controls To the top Effects quick reference Effect Action Effect > 3D Convert open or closed paths, or bitmap objects, into threedimensional (3D) objects, which you can rotate, light, and shade.
See also: Apply Pathfinder effects Effect > Pixelate Sharply define a selection by clumping pixels of similar color values. See also: Pixelate effects Effect > Rasterize Convert a vector object to a bitmap object. See also: Rasterize a vector object Effect > Sharpen Focus blurry images by increasing the contrast of adjacent pixels. See also: Sharpen effect Effect > Sketch Add texture to images, often for a three-dimensional effect.
Poster Edges Reduces the number of colors in an image according to the Posterization value you set; then finds the edges of the image and draws black lines on them. Broader areas of the image have simple shading, while fine, dark detail is distributed throughout the image. Rough Pastels Makes an image appear as if stroked with colored pastel chalk on a textured background.
Mezzotint Converts an image to a random pattern of black-and-white areas, or of fully saturated colors in a color image. To use the effect, choose a dot pattern from the Type pop-up menu in the Mezzotint dialog box. Pointillize Breaks up the color in an image into randomly placed dots, as in a pointillist painting, and uses the background color as a canvas area between the dots.
Texturizer Applies a texture you select or create to an image. To the top Video effects The Video effects are raster-based and use the document’s raster effects settings whenever you apply the effect to a vector graphic. De-Interlace Smooths moving images captured on video by removing either the odd or even interlaced lines in a video image. You can choose to replace the discarded lines by duplication or interpolation.
Create a drop shadow 1. Select an object or group (or target a layer in the Layers panel). 2. Choose Effect > Stylize > Drop Shadow. 3. Set options for the drop shadow, and click OK: Mode Specifies a blending mode for the drop shadow. Opacity Specifies the percentage of opacity you want for the drop shadow. X Offset and Y Offset Specifies the distance you want the drop shadow to be offset from the object. Blur Specifies the distance from the edge of the shadow where you want any blurring to occur.
Drop shadows, glows, and feathering Apply an inner or outer glow Feather the edges of an object To the top Apply an inner or outer glow 1. Select an object or group (or target a layer in the Layers panel). 2. Choose Effect > Stylize > Inner Glow or Effect > Stylize > Outer Glow. 3. Click the color preview square next to the blending mode menu to specify a color for the glow. 4. Set additional options, and click OK: Mode Specifies a blending mode for the glow.
Creating sketches and mosaics Create a sketch using the Scribble effect Create a mosaic To the top Create a sketch using the Scribble effect 1. Do one of the following: Select the object or group (or target a layer in the Layers panel). To apply the effect to a specific object attribute, such as a stroke or fill, select the object, and then select the attribute in the Appearance panel. To apply the effect to a graphic style, select a graphic style in the Graphic Styles panel. 2.
Use Ratio Makes the tiles square, using the number of tiles specified in Number Of Tiles. This option is located below the Cancel button.
Graphic styles About graphic styles Graphic Styles panel overview Create graphic styles Apply a graphic style Use graphic style libraries Work with graphic styles Import all graphic styles from another document To the top About graphic styles A graphic style is a set of reusable appearance attributes. Graphic styles allow you to quickly change the look of an object; for example, you can change its fill and stroke color, alter its transparency, and apply effects in one step.
Drag the graphic style to a different position. When a black line appears in the desired position, release the mouse button. Select Sort By Name from the panel menu to list the graphic styles in alphabetic or numeric order (Unicode order). Select Use Text For Preview from the panel menu to view the style on the letter T. This view provides a more accurate visual description for styles applied to text.
To the top Apply a graphic style 1. Select an object or group (or target a layer in the Layers panel). 2. To apply a single style to an object, do either of the following: Select a style from the Styles menu in the Control panel, the Graphic Styles panel, or a graphic style library. Drag the graphic style onto an object in the document window. (The object does not have to be selected first.) 3.
Choose Break Link To Graphic Style from the Graphic Styles panel menu, or click the Break Link To Graphic Style button in the panel. Change any appearance attribute of the selection (such as a fill, stroke, transparency, or effect). The object, group, or layer retains the same appearance attributes and is now independently editable. However, these attributes are no longer associated with a graphic style.
Web graphics 397
Best practices for creating web graphics About web graphics About pixel preview mode Using Adobe Device Central with Illustrator Illustrator provides a variety of tools for creating layout for web pages, or creating and optimizing web graphics. For example, use web-safe colors, balance image quality with file size, and choose the best file format for your graphic.
Pixel Preview off (top) compared to on (bottom) Important: The pixel grid is sensitive to the ruler origin (0,0). Moving the origin of the ruler will change how Illustrator rasterizes artwork. To the top Using Adobe Device Central with Illustrator Device Central enables Illustrator users to preview how Illustrator files will look on a variety of mobile devices. For example, a graphic artist may use Illustrator to design a wallpaper for mobile phones.
A temporary file with the export settings specified is displayed in the Device Central Emulator tab. To continue testing, doubleclick the name of a different device in the Device Sets orAvailable Devices lists. 11. If, after previewing the file in Device Central, you need to make changes to the file, go back to Illustrator. 12. In the Illustrator Save for Web & Devices dialog box, make adjustments such as selecting a different format or quality for export. 13.
Slices and image maps About slices Create slices Select slices Set slice options Lock slices Adjust slice boundaries Remove slices Show or hide slices Create image maps To the top About slices Web pages can contain many elements—HTML text, bitmap images, and vector graphics, to name a few. In Illustrator, you can use slices to define the boundaries of different web elements in your artwork.
Select the Slice tool and drag over the area where you want to create a slice. Shift-drag to constrain the slice to a square. Alt-drag (Windows) or Option-drag (Mac OS) to draw from the center. Select one or more objects on the artboard, and choose Object > Slice > Create From Selection. Place guides where you want to slice the artwork, and choose Object > Slice > Create From Guides. Select an existing slice, and choose Object > Slice > Duplicate Slice.
To the top Adjust slice boundaries If you created a slice using the Object > Slice > Make command, the position and size of the slice is tied to the artwork it contains. Therefore, if you move or resize the artwork, the slice boundaries adjust automatically.
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SVG About SVG Apply SVG effects Import effects from an SVG file SVG Interactivity panel overview Add SVG interactivity to artwork SVG events To the top About SVG Bitmap image formats for the web—GIF, JPEG, WBMP, and PNG—describe images using a grid of pixels. The resulting files tend to be bulky, limited to a single (often low) resolution, and consume large amounts of bandwidth on the web. SVG, on the other hand, is a vector format that describes images as shapes, paths, text, and filter effects.
2. Do one of the following: To apply an effect with its default settings, select the effect from the bottom section of the Effect > SVG Filters submenu. To apply an effect with custom settings, choose Effect > SVG Filters > Apply SVG Filter. In the dialog box, select the effect, and click the Edit SVG Filter button . Edit the default code and click OK. To create and apply a new effect, choose Effect > SVG Filters > Apply SVG Filter.
onabort Triggers the action when the page loading is stopped before the element is completely loaded. onunload Triggers the action when the SVG document is removed from a window or frame. onzoom Triggers the action when the zoom level is changed for the document. onresize Triggers the action when the document view is resized. onscroll Triggers the action when the document view is scrolled or panned.
Creating animations About Flash graphics Create Flash animations Working with Illustrator and Flash To the top About Flash graphics The Flash (SWF) file format is a vector-based graphics file format for scalable, compact graphics for the web. Because the file format is vectorbased, the artwork maintains its image quality at any resolution and is ideal for the creation of animation frames.
Choose File > Save For Web & Devices. Choose SWF from the Optimized File Format menu. From the Type Of Export menu, choose AI Layers To SWF Frames. Set additional options, and click Save. To the top Working with Illustrator and Flash You can move Illustrator artwork into the Flash editing environment or directly into Flash Player. You can copy and paste artwork, save files in SWF format, or export artwork directly to Flash.
Symbols panel, and all instances of that symbol are updated accordingly. In Flash, symbol-editing mode and the Library panel work in a similar fashion. Symbol properties and links Using the Symbols panel or the Control panel, you can easily assign names to symbol instances, break links between instances and symbols, swap a symbol instance with another symbol, or create a copy of the symbol. In Flash, the editing features in the Library panel work in a similar way.
Working with FXG 411
FXG format About FXG Best practices for using FXG Save an Illustrator file in FXG format Illustrator and Flash Catalyst workflow FXG mapping of Illustrator objects and attributes To the top About FXG When creating structured graphics in Illustrator for use in Adobe Flex®, you can save in the FXG format. FXG is a graphics file format based on a subset of MXML, the XML-based programming language used by the Flex framework.
To the top Save an Illustrator file in FXG format To map Illustrator content in FXG while preserving maximum appearance and editability, you can save a document in FXG format. This document can then be opened in either Illustrator or Flash Catalyst. 1. Click either File > Save As or click File > Save A Copy. 2. Type a filename, and choose a location for the file. 3. Select Adobe FXG (*.FXG) as the file format, and click Save. The FXG Options dialog box is displayed. FXG Options Dialog Box 4.
Gradients Gradients are not fully compatible with FXG when the gradient has more than 16 stops. Gradient mid points that are not equal to 50% are also mapped directly into FXG. Illustrator first tries to extrapolate those midpoints to actual stops and if they cannot be extrapolated, gradients are rasterized. Illustrator has the capability to determine the priority when exporting gradients in FXG. If content editability is high priority, then select Maintain Editability (Convert to FXG).
Done and cancel options for FXG file opened in Illustrator Note: In Illustrator, only the selected objects are available for editing. All other objects are visible, but cannot be edited. 3. Change the selected object or create new objects. 4. Exit this mode by clicking the Done button at the upper-right corner in Illustrator. When you click Done, the edited object and any new objects are reconverted into FXG format and passed back to Flash Catalyst.
Fill Stroke Rectangle/Roun ded Rectangle Mapping Live Mapping Live No Star/Polygon Mapping Live Mapping Live No Flare Expansion Expansion No Compound Shape Expansion Expansion Yes Solid Fill Mapping Live Mapping Live No Colors are not preserved for Swatch libraries. Process/Spot Color/Registrati on/Global Process Convert to Solid Convert to Solid No Colors are not preserved for Swatch libraries.
Transparency panel Options Attribute panel Options Transparency Knockout Rasterization Rasterization Yes Isolate Blending Rasterization Rasterization Yes Dropped Dropped No Mapping Live Mapping Live No Mapping Live Mapping Live No Mapping Live Mapping Live No Expansion Expansion No Attribute Panel Overprint Fill/Overprint/Str oke/Image Maps/URL Layers and sublayers Hidden/Lock layers Group Blend Group Blend is handled with FXG Save Options: Auto: automatically
effect is rasterized because expanding objects with 3D effects generates numerous paths and causes performance issues in Flash Catalyst. Revolve Rasterization Rasterization Rasterization Thumb rule for vector effect mapping in FXG is to expand the object with effect. However, 3D effect is rasterized because expanding objects with 3D effects generates numerous paths and causes performance issues in Flash Catalyst.
Path Offset Path/ Outline Object/ Outline Stroke Expansion Expansion Yes Add/ Intersect/ Exclude/ Subtract/ Minus Back/ Divide/ trim/ Merge/ Crop/ Outline/ Hard Mix/ Soft Mix/ Trap Expansion Expansion Yes Rasterize Rasterize Rasterize Yes Expansion Expansion Yes Mapping Live Mapping Live Yes When you save content as FXG, the "Mode" is always set to "Multiple" and "Darkness" is replaced by last used color in the Drop Shadow effect.
Blur Graphs Rasterization Rasterization No Graphic Style Expansion Expansion No Tracing Objects Expansion Expansion No Image Maps Dropped Dropped No Envelope Distort Expansion Expansion No Foreign Art Rasterization Rasterization No Mesh Art Rasterization Rasterization No Pattern Rasterization Rasterization No Mapping Live Mapping Live No Masked objects with filled clipping path are rasterized on FXG save.
Transform Effect> cale Variables Dropped Dropped Flash Text Dropped Dropped SVG Interactivity Dropped Dropped Plug-in Art Adobe Expansion Expansion No Plug-in Art Third Party Expansion Expansion No Darken/ Multiply/ Color Burn/ Lighten/ Screen/ Color Dodge/ Overlay/ Soft Light/ Hard Light/ Difference/ Exclusion/ Hue/ Saturation/ Color/ Luminosity Mapping Live Mapping Live No Calligraphic/ Scatter/ Art/ Pattern/ Bristle Expansion Expansion No Points/Picas/Inc hes/Millimeters/ Centi
Poster Edges/ Rough Pastels/ Smudge Stick/ Sponge/ Underpainting/ Watercolor Blur Gaussian Blur Mapping Live Mapping Live Yes Radial/Smart Blur Rasterization Rasterization Yes Rasterization Rasterization Yes Rasterization Rasterization Yes Rasterization Rasterization Yes Rasterization Rasterization Yes Rasterization Rasterization Yes Rasterization Rasterization Yes Rasterization Rasterization Yes Brush Strokes Accented Edges/ Angled Strokes/ Crosshatch/ Dark Strokes/ Ink Outline
Tiles/ Patchwork/ Stained Glass/ Texturizer Video Rasterization Rasterization Yes Slices Dropped Dropped No Guides Dropped Dropped No Expansion Expansion No Dropped Dropped No Mapping Live Mapping Live No De-Interlace / NTSC Colors Symbol Set XMP Multiple Artboards Single Artboard Objects outside artboards are always discarded.
Alignment textAlign Preserved Justify with last line aligned (left, center, right, or all) textAlignLast Preserved First line left indent textIndent Preserved Left Indent paragraphstartindent Preserved Right Indent paragraphendindent Preserved spaceBefore paragraphspacebefore Preserve spaceAfter paragraphspaceafter Preserve Horizontal/Vertical text frame blockProgression Preserved width width height height x x y y Indent Spacing paddingLeft Indent Spacing paddingRight Ind
Text Frame Fill The object is expanded Following is a list of attributes that are not supported by Illustrator but are supported by FXG: Attribute Name FXG tag Illustrator Import: level of support Behavior LinearGradientstroke Preserved till not tampered Illustrator preserves FXG data for this attribute until tampered. If any editing in Illustrator affects this attribute directly, then Illustrator overwrites the data causing drop of this attribute.
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Printing 427
Setting up documents for printing Print a composite of artwork Make artwork nonprintable Print dialog box options Reposition artwork on the page Print multiple artboards Automatically rotate artboards for printing Tile artwork on multiple pages Scale a document for printing Change the printer resolution and screen frequency To make optimum decisions about printing, you should understand basic printing principles, including how the resolution of your printer or the calibration and resolution of you monitor c
print. Marks & Bleed Select printer’s marks and create a bleed. Output Create color separations. Graphics Set printing options for paths, fonts, PostScript files, gradients, meshes, and blends. Color Management Select a color profile and rendering intent for printing. Advanced Control the flattening (or possible rasterization) of vector artwork during printing. Summary View and save a summary of print settings.
3. (Optional) If you selected Full Pages, set the Overlap option to specify the amount of overlap between pages. To the top Scale a document for printing To fit an oversized document on a piece of paper smaller than the artwork’s actual dimensions, you can use the Print dialog box to scale the document’s width and height, either symmetrically or asymmetrically.
Change the page size and orientation Adobe Illustrator normally uses the default page size defined by the PPD file for the selected printer. However, you can change the media size to any of the sizes listed in the PPD file as well as specify portrait (vertical) or landscape (horizontal) orientation. The largest page size you can specify depends on the maximum imageable area of your imagesetter. Note: Changing page size and orientation in the Print dialog box is for printing purposes only.
Printing color separations About color separations Preparing artwork for color separating Preview color separations Print color separations Print an object on all plates To the top About color separations To reproduce color and continuous-tone images, printers usually separate artwork into four plates (called process colors)—one plate for each of the cyan, magenta, yellow, and black portions of the image. You can also include custom inks (called spot colors).
Rich black Previewing separations lets you identify areas that will print as rich black, or process black (K) ink mixed with color inks for increased opacity and richer color. Overprinting You can preview how blending, transparency, and overprinting will appear in color-separated output. You can also see overprinting effects when you output to a composite printing device.
RIP, leaving the host computer free to perform other tasks. This approach takes less time for Illustrator to generate the file, and minimizes the amount of data transmitted for any given print job. For example, instead of sending PostScript information for four or more pages to print hostbased color separations, Illustrator sends the PostScript information for a single composite PostScript file for processing in the RIP.
Printer’s marks and bleeds About printer’s marks Add printer’s marks About bleeds Add a bleed To the top About printer’s marks When you prepare artwork for printing, a number of marks are needed for the printer device to register the artwork elements precisely and verify correct color. You can add the following kinds of printer’s marks to your artwork: Trim Marks Fine (hairline) horizontal and vertical rules that define where the page should be trimmed.
stripped into a keyline in a document. Once you create the artwork that extends into the bleed, you can use Illustrator to specify the extent of the bleed. Increasing the bleed makes Illustrator print more of the artwork that is located beyond the trim marks. The trim marks still define the same size printing bounding box, however. The size of the bleed you use depends on its purpose. A press bleed (that is, an image that bleeds off the edge of the printed sheet) should be at least 18 points.
PostScript printing About PPD files Printing long, complex paths Control how fonts are downloaded to a printer Change the PostScript level for printing PostScript printers use a PPD file (PostScript Printer Description file) to customize the behavior of the driver for your specific PostScript printer.
1. Choose File > Print. 2. For Printer, select a PostScript printer, Adobe PostScript® File, or Adobe PDF. 3. Select Graphics on the left side of the Print dialog box. 4. Deselect Automatic, and use the Flatness slider to set the accuracy of curves. A lower setting (toward Quality) creates more, smaller straight line segments, more closely approximating the curve. A higher setting (toward Speed) results in longer and fewer line segments, creating a less accurate curve, but improving performance.
5. (Optional) If you chose Adobe PostScript® File as the printer, select a Data Format option to specify how Illustrator sends the image data from your computer to a printer. Binary exports the image data as binary code, which is more compact than ASCII but may not be compatible with all systems. ASCII exports the image data as ASCII text, which is compatible with older networks and parallel printers and is usually the best choice for graphics used on multiple platforms.
Printing with color management Let your application manage colors when printing Let your printer manage colors when printing When you print with color management, you can let Illustrator manage the colors, or you can let the printer manage the colors. To the top Let your application manage colors when printing 1. Choose File > Print. 2. Select Color Management on the left side of the Print dialog box. 3. For Color Handling, choose Let Illustrator Determine Colors. 4.
8. Specify the color management settings to let your printer driver handle the color management during printing. Every printer driver has different color management options. If it’s not clear how to set color management options, consult your printer documentation. 9. Return to the Illustrator Print dialog box, and click Print.
Specify crop marks for trimming or aligning Create crop marks around an object Delete crop marks Use Japanese-style crop marks In addition to specifying different artboards to crop artwork for output, you can also create and use multiple sets of crop marks within your artwork. Crop marks indicate where you want the printed paper to be cut. Crop marks are useful when you want to create marks around several objects on a page—for example, when printing a sheet of business cards.
Overprinting About overprinting Set up overprinting Overprint black Simulate or discard overprinting By default, when you print opaque, overlapping colors, the top color knocks out the area underneath. Overprinting prevents knockouts and makes the topmost overlapping printing ink appear transparent in relation to the underlying ink. Where colors printed from separate plates overlap or adjoin one another, press misregistration can cause gaps between colors on the final output.
transparency settings or graphic styles. You can also use the Overprint Black command to set up overprinting for objects that contain a specific percentage of black. To use the Overprint Black command: 1. Select all the objects you might want to overprint. 2. Choose Edit > Edit Colors > Overprint Black. 3. Enter the percentage of black you want to overprint. All objects with the specified percentage will overprint. 4. Select Fill, Stroke, or both to specify how to apply the overprinting. 5.
Print presets Create print presets Apply print presets Edit print presets Delete print presets Export or import print presets View a summary of print settings/presets If you regularly output to different printers or job types, you can automate print jobs by saving all output settings as print presets. Using print presets is a fast, reliable way to print jobs that require consistently accurate settings for many options in the Print dialog box.
2. Do one of the following: To export presets, select one or more presets in the list and click Export. Shift-click to select adjacent presets. Ctrl-click (Windows) or Command-click (Mac OS) to select nonadjacent presets. Specify a name and location, and then click Save. To import presets, click Import. Locate and click the file containing the presets you want to load, and then click OK. Consider saving presets outside of the preferences folder.
Printing The printing workflow is sometimes complex. Begin by understanding the setup required and then navigate to subjects of interest.
Printing and saving transparent artwork About flattening File formats that retain transparency Set transparency flattening options for printing Transparency Flattener options Preview which areas of artwork will be flattened Flattener Preview panel overview About transparency flattener presets Create or edit a transparency flattener preset Export and import a custom transparency flattener preset Rename or delete a custom transparency flattener preset Flatten transparency for individual objects Rasterize all
Print a file that contains transparency. Save a file that contains transparency in a legacy format such as native Illustrator 8 and earlier, Illustrator 8 EPS and earlier, or PDF 1.3 format. (For the Illustrator and Illustrator EPS formats, you can choose to discard transparency rather than flatten it.) Export a file that contains transparency to a vector format that does not understand transparency (such as EMF or WMF).
lowest setting to rasterize all the artwork. Note: The amount of rasterization that occurs depends on the complexity of the page and the types of overlapping objects. Line Art And Text Resolution Rasterizes all objects, including images, vector artwork, text, and gradients, to the specified resolution. Acrobat and InDesign allow a maximum of 9600 pixels per inch (ppi) for line art, and 1200 ppi for gradient mesh. Illustrator allows a maximum of 9600 ppi for both line art and gradient mesh.
of transparent artwork with the background color to create an overprint effect. 5. At any time, click Refresh to display a fresh preview version based on your settings. Depending on the complexity of the artwork, you may need to wait a few seconds for the preview image to appear. In InDesign, you can also choose Auto Refresh Highlight. In Illustrator and Acrobat, to magnify the preview, click in the preview area. To zoom out, Alt-click/Option-click in the preview area.
or exported to SVG. To the top Create or edit a transparency flattener preset You can save transparency flattener presets in a separate file, making it easy to back them up or to make them available to your service providers, clients, or others in your workgroup. In InDesign, transparency flattener preset files have an .flst extension. 1. Choose Edit > Transparency Flattener Presets. 2. Do one of the following: To create a new preset, click New.
1. Choose File > Print. 2. Select Advanced on the left side of the Print dialog box. 3. Select Print As Bitmap. This option is only available if the printer driver for the selected printer supports bitmap printing.
Printing gradients, meshes, and color blends Printing gradients, meshes, and color blends Rasterize gradients and meshes during printing Setting the proper screen frequency for printing gradients, meshes, and blends Calculate the maximum blend length for gradients Files with gradients, meshes, or color blends can be difficult for some printers to print smoothly (without discrete bands of color) or at all.
1693 106 2000 125 2400 150 2540 159 3000 188 3252 203 3600 225 4000 250 To the top Calculate the maximum blend length for gradients Illustrator calculates the number of steps in a gradient based on the percentage of change between the colors in the gradient. The number of steps, in turn, determines the maximum length of the blend before banding occurs. 1. Select the Measure tool , and click the beginning point and the endpoint of the gradient. 2.
110 237.6 3.3 8.382 120 259.2 3.6 9.144 130 280.8 3.9 9.906 140 302.4 4.2 10.668 150 324.0 4.5 11.430 160 345.6 4.8 12.192 170 367.2 5.1 12.954 180 388.8 5.4 13.716 190 410.4 5.7 14.478 200 432.0 6.0 15.240 210 453.6 6.3 16.002 220 475.2 6.6 16.764 230 496.8 6.9 17.526 240 518.4 7.2 18.288 250 540.0 7.5 19.050 256 553.0 7.7 19.
Trapping About trapping Create a trap Create a spread or choke Trap a line Trap a portion of an object To the top About trapping Where colors printed from separate plates overlap or adjoin one another, press misregistration can cause gaps between colors on the final output. To compensate for potential gaps between colors in artwork, print shops use a technique called trapping to create a small area of overlap (called a trap) between two adjoining colors.
1. If the document is in RGB mode, choose File > Document Color Mode > CMYK Color to convert it to CMYK Mode. 2. Select two or more objects. 3. Do one of the following: To apply the command directly to the objects, choose Window > Pathfinder, and choose Trap from the panel menu. To apply the command as an effect, choose Effect > Pathfinder >Trap. Select Preview if you want to preview the effect. 4. Set trap options, and click OK. Trap options Thickness Specifies a stroke width between 0.01 and 5000 points.
Object stroked with fill color A. Overprinted stroke creates spread trap B. Fill creates knockout C. Area of trap D. Area of knockout Create a choke by entering the same color values for the Stroke as appear in the lighter background (again, using the Color panel); the Stroke and Fill values will differ. This method reduces the darker object by stroking its boundaries with the lighter background color. 3. Choose Window > Stroke. Object stroked with background color A.
To the top Trap a portion of an object 1. Draw a line along the edge or edges that you want to trap. If the object is complex, use the Direct Selection tool to select the edges to be trapped, copy them, and choose Edit > Paste In Front to paste the copy directly on top of the original. Drop shadow with a trap (left) is based on the line drawn where the object and its drop shadow meet (right). 2.
Automating tasks 461
Automation with actions About actions Actions panel overview Play an action on a file Record an action Insert nonrecordable tasks into actions Insert a stop Change settings when playing an action Exclude commands from an action Specify playback speed Edit and rerecord actions Manage action sets Play an action on a batch of files To the top About actions An action is a series of tasks that you play back on a single file or a batch of files—menu commands, panel options, tool actions, and so on.
To the top Play an action on a file Playing an action executes the action’s recorded commands in the active document. (Some actions require that you make a selection before playing; some can be executed on an entire file.) You can exclude specific commands from an action or play only a single command. If the action includes a modal control, you can specify values or use tools in a dialog box when the action pauses.
1. Choose Insert Menu Item from the Actions panel menu. 2. Select the command from its menu, or begin typing the command name in the text box, and click Find. Then click OK. Insert a path Select the path, and choose Insert Select Path from the Actions panel menu. Insert selection of an object 1. Enter a name for the object in the Note box of the Attributes panel before you start recording. (Select Show Note from the Attributes panel menu to display the Note box.) 2.
command. To exclude or include all commands or actions in an action or set, click the check mark to the left of the action or set name. To exclude or include all commands except the selected command, Alt-click (Windows) or Option-click (Mac OS) its check mark. To indicate that some of the commands within the action are excluded, in Photoshop the check mark of the parent action turns red; in Illustrator the check mark of the parent action becomes dimmed.
Save a set of actions 1. Select a set. If you want to save a single action, first create an action set and move the action to the new set. 2. Choose Save Actions from the Actions panel menu. 3. Type a name for the set, choose a location, and click Save. You can save the file anywhere. You can save only the entire contents of a set in the Actions panel, not individual actions.
Depending on the Destination option you select, you can set additional options for saving the files. 5. Specify how you want Illustrator to handle errors during the batch process. If you select Log Errors To File, click Save As, and name the error file. 6. Click OK. Saving files using the Batch command options always saves the files in the same format as the original files.
Automation with scripts Run a script Install a script When you run a script, your computer performs a sequence of operations. These operations may involve only Illustrator, or they may involve other applications, such as word-processing, spreadsheet, and database-management programs. Illustrator supports multiple scripting environments (including Microsoft Visual Basic, AppleScript, JavaScript, and ExtendScript).
Data-driven graphics through templates and variables Variables panel overview Create variables Edit variables Delete variables Edit dynamic objects Identifying dynamic objects using XML IDs Data sets About variable libraries Save a template for data-driven graphics In Illustrator, you can turn any piece of artwork into a template for data-driven graphics. All you need to do is define which objects on the artboard are dynamic (changeable) using variables.
No Type (unbound) variable . You can sort the rows by clicking items in the header bar: by variable name, object name, or by variable type. To the top Create variables You can create four types of variables in Illustrator: Graph Data, Linked File, Text String, and Visibility. A variable’s type indicates which object attributes are changeable (dynamic). Note: The Variable panel menu also provides commands for creating variables.
Alt-click (Windows) or Option-click (Mac OS) a variable in the Variables panel. Select a variable in the Variables panel, and choose Select Bound Object from the Variables panel menu. To select all dynamic objects, choose Select All Bound Objects from the Variables panel menu. 2. Edit the data associated with the object as follows: For text, edit the text string on the artboard. For linked files, replace the image using the Links panel or the File > Place command.
To the top Save a template for data-driven graphics When you define variables in an Illustrator document, you are creating a template for data-driven graphics. You can save the template in SVG format for use with other Adobe products, such as Adobe® Graphics Server. For example, a developer working with Adobe Graphics Server can bind the variables in the SVG file directly to a database or another data source. 1. Choose File > Save As, enter a filename, select SVG as the file format, and click Save. 2.
Graphs 473
Graphs Creating graphs Formatting graphs Adding pictures and symbols to graphs To the top Creating graphs Graphs let you communicate statistical information in a visual way. In Adobe Illustrator, you can create nine different types of graphs and customize them to suit your needs. Click and hold the graph tool in the Tools panel to see all different types of graphs you can create. Create a graph 1. Select a graph tool.
Graph data window A. Entry text box B. Import data C. Transpose row/column D. Switch x/y E. Cell style F. Revert G. Apply 1. Display the Graph Data window for an existing graph: select the entire graph with the Selection tool, and then choose Object > Graph > Data. 2. Enter data in any of the following ways: Select a cell in the worksheet, and enter the data in the text box at the top of the window.
Total subscriptions 1996 Enter data sets for scatter graphs A scatter graph differs from the other kinds of graphs in that both axes measure values; there are no categories. Scatter graph data Enter data-set labels in every other cell along the top row of the worksheet, starting with the first cell. These labels will appear in the legend. Enter y-axis data in the first column and x-axis data in the second column.
Area graphs Values must be all positive or all negative. Each row of data entered corresponds to a filled area on the area graph. Area graphs add each column’s values to the previous column’s totals. Therefore, even if area graphs and line graphs contain the same data, they appear substantially different. Radar graphs Each number is plotted on an axis and connected to the others in the same axis to create a “web.” You can combine positive and negative values in a radar graph.
2. Click the legend for the data set you want to assign to the axis. 3. Without moving the Group Selection tool pointer from the legend, click again. All of the columns grouped with the legend are selected. 4. Choose Object > Graph > Type, or double-click the graph tool in the Tools panel. 5. From the Value Axis pop-up menu, select the axis to which you want to assign the data. 6. Click OK.
graphs. 1. Select the graph with the Selection tool. 2. Choose Object > Graph > Type, or double-click the graph tool in the Tools panel. 3. Do any of the following: To change the placement of the legend, select an option for Legend. To specify how multiple pie graphs are displayed, select an option for Position. To specify how wedges are sorted, select an option for Sort. Percentages and legends are painted black by default.
1. Select the Group Selection tool . 2. Click the legend of the columns you want to select. 3. Without moving the Group Selection tool pointer from the legend, click again. All of the columns grouped with the legend are selected. You can also select a group by clicking one of its parts, clicking again to select columns grouped with it, and clicking a third time to select the legend. Each click adds another layer of grouped objects to the selection, beginning with the next group up in the hierarchy.
Sliding graph design Import a column or marker design Illustrator comes with a variety of preset designs that you can use in your graphs. You can also transfer the graph designs you create between documents. 1. Choose Window > Swatch Libraries > Other Library. 2. Do one of the following: To import preset graph designs, navigate to the Cool Extras/Sample Files/Graph Designs folder inside the Illustrator application folder. Then select a graph designs file, and click Open.
For example, you can place the value in, above, below, to the left, or to the right of the design. 3. Click and type a percent sign (%) followed by two digits from 0 to 9. The digits control how the data is displayed. The first digit determines how many places appear before the decimal point. For example, if your total was 122, a digit of 3 would display 122. If you enter 0 for the first digit, the program adds the number of places necessary for the value.
Line graph with marker designs Reuse a graph design You can reuse a graph design that you created and edit it to make a new design. If you have the original artwork, you can alter it and then rename the design using the Graph Design dialog box. If you don’t have the original artwork defined as a graph design, you can retrieve the original by pasting the graph design into your artwork. 1. Choose Select > Deselect to deselect all of the artwork. 2. Choose Object > Graph > Design. 3.
Keyboard shortcuts 484
Customizing keyboard shortcuts Customize keyboard shortcuts Keyboard shortcuts make you more productive in Illustrator. You can use the default shortcuts included with Illustrator, or add and customize shortcuts to suit your needs. To the top Customize keyboard shortcuts Illustrator lets you view a list of all shortcuts, and edit or create shortcuts.
To delete the set of shortcuts, click Delete. (You can’t delete the set named Illustrator Defaults.) To export the displayed set of shortcuts into a text file, click Export Text. In the Save Key Set File As dialog box, enter a filename for the current key set that you are saving, and click Save. You can use this text file to print out a copy of your keyboard shortcuts.
Default keyboard shortcuts Keys for selecting tools Keys for viewing artwork Keys for drawing Keys for drawing in perspective Keys for selecting Keys for moving selections Keys for editing shapes Keys for painting objects Keys for working with Live Paint groups Keys for transforming objects Keys for creating variable width points Keys for working with type Keys for using panels Keys for the Actions panel Keys for the Brushes panel Keys for the Character and Paragraph panels Keys for the Color panel Keys for
Pencil tool N N Rotate tool R R Reflect tool O O Scale tool S S Warp tool Shift + R Shift + R Width Tool Shift+W Shift+W Free Transform tool E E Shape Builder Tool Shift+M Shift+M Perspective Grid Tool Shift+P Shift+P Perspective Selection Tool Shift+V Shift+V Symbol Sprayer tool Shift + S Shift + S Column Graph tool J J Mesh tool U U Gradient tool G G Eyedropper tool I I Blend tool W W Live Paint Bucket tool K K Live Paint Selection tool Shift + L Shift
Switch to Zoom tool in reduce mode Ctrl + Alt + Spacebar Spacebar + Command + Option Move Zoom marquee while dragging with the Zoom tool Spacebar Spacebar Hide unselected artwork Control + Alt + Shift + 3 Command + Option + Shift + 3 Convert between horizontal and vertical guide Alt-drag guide Option-drag guide Release guide Ctrl + Shift-double-click guide Command + Shift-double-click guide Show/Hide artboards Ctrl + Shift + H Command + Shift + H Show/Hide artboard rulers Ctrl + Alt + R
Keep the sides of a star straight Alt-drag Option-drag Switch between an open and closed arc Start dragging, then hold down C Start dragging, then hold down C Flip an arc, keeping the reference point constant Start dragging, then hold down F Start dragging, then hold down SF Add or subtract winds from a spiral while increasing the length of the spiral Start dragging, then Alt-drag Start dragging then Option-drag Change the decay rate of a spiral Start dragging then Ctrl-drag Start dragging the
drag the object drag the object Switching perspective planes Use the Perspective Selection tool and then press 1 for left grid, 2 for horizontal grid, 3 for right grid, or 4 for no active grid Use the Perspective Selection tool and then press 1 for left grid, 2 for horizontal grid, 3 for right grid, or 4 for no active grid Copying objects in perspective Ctrl+Alt+drag Command+Alt+drag Repeat transforming objects in perspective Ctrl+D Command+D Switching between drawing modes Shift+D Shift+D To
Constrain movement to 45° angle (except when using Reflect tool) Hold down Shift Hold down Shift Set keyboard increments in General Preferences To the top Keys for editing shapes This is not a complete list of keyboard shortcuts. This table lists only those shortcuts that are not displayed in menu commands or tool tips.
Add new fill Ctrl + / (forward slash) Command + / (forward slash) Add new stroke Ctrl + Alt + / (forward slash) Command + Option + / (forward slash) Reset gradient to black and white Ctrl-click gradient button in Tools panel or Gradient panel Command-click gradient button in Tools panel or Gradient panel Open Mosaic options for selected raster object Alt + o + j Decrease Bristle brush size [ [ Increase Bristle brush size ] ] Set Bristle brush paint opacity value Number keys 1 - 0.
using Rotate tool, Scale tool, Reflect tool, or Shear tool Duplicate and transform selection when using Selection tool, Scale tool, Reflect tool, or Shear tool Alt-drag Option-drag Transform pattern (independent of object) when using Selection tool, Scale tool, Reflect tool, or Shear tool Tilde (~)-drag Tilde (~)-drag To the top Keys for creating variable width points This is not a complete list of keyboard shortcuts.
Increase or decrease leading Alt + Up or Down Arrow (horizontal text) or Right or Left Arrow (vertical text) Option + Up or Down Arrow (horizontal text) or Right or Left Arrow (vertical text) Reset tracking/kerning to 0 Ctrl + Alt + Q Command + Option + Q Increase or decrease kerning and tracking Alt + Right or Left Arrow (horizontal text) or Up or Down Arrow (vertical text) Option + Right or Left Arrow (horizontal text) or Up or Down Arrow (vertical text) Increase or decrease kerning and tracking
button Begin recording actions without confirmation Alt-click New Action button Option-click New Action button To the top Keys for the Brushes panel This is not a complete list of keyboard shortcuts. This table lists only those shortcuts that are not displayed in menu commands or tool tips.
Result Windows Mac OS Duplicate color stops Alt-drag Option-drag Swap color stops Alt-drag color stop onto another stop Option-drag color stop onto another color stop Apply swatch color to active (or selected) color stop Alt-click swatch in the Swatches panel Option-click swatch in the Swatches panel Reset the gradient fill to default black and white linear gradient Ctrl-click Gradient Fill box in the Gradient panel Command-click Gradient Fill box in the Gradient panel Show/Hide gradient arro
Result Windows Mac OS Create new spot color Ctrl-click New Swatch button Command-click New Swatch button Create new global process color Ctrl + Shift-click New Swatch button Command + Shift-click New Swatch button Replace swatch with another Alt-drag a swatch over another Option-drag a swatch over another To the top Keys for the Transform panel This is not a complete list of keyboard shortcuts. This table lists only those shortcuts that are not displayed in menu commands or tool tips.
Show/hide Info panel Ctrl + F8 Command + F8 Show/hide Gradient panel Ctrl + F9 Command + F9 Show/hide Stroke panel Ctrl + F10 Command + F10 Show/hide Attributes panel Ctrl + F11 Command + F11 Revert F12 F12 Show/hide Graphic Styles panel Shift + F5 Shift + F5 Show/hide Appearance panel Shift + F6 Shift + F6 Show/hide Align panel Shift + F7 Shift + F7 Show/hide Transform panel Shift + F8 Shift + F8 Show/hide Pathfinder panel Shift + Ctrl + F9 Shift + Command + F9 Show/hide Trans
