Adobe® Illustrator® CC Help
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iii Contents Chapter 1: What's new New features summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1 Chapter 2: Workspace Workspace basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
iv ILLUSTRATOR Contents Chapter 4: Color About color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130 Selecting colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
v ILLUSTRATOR Contents Creating 3D objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286 Touch-based tools and enhancements | Illustrator CC Creating shapes using Shape BuilderTool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293 . . . . . . . . . . . . . . . . . . . .
vi ILLUSTRATOR Contents Chapter 10: Creating special effects Appearance attributes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 414 Working with effects Summary of effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1 Chapter 1: What's new New features summary October 2014 Creative Cloud Libraries Touch workspace Curvature tool Join tool Area Type autosizing June 2014 Live shapes Pen tool preview & drawing enhancements GPU Performance Typekit: Missing fonts workflow Hello screen and Other enhancements Creative Cloud Libraries Last updated 10/3/2014
2 What's new Got favorite colors, type styles or graphics? Now keep them close at hand - wherever and whenever you need them using Creative Cloud Libraries. Creative Cloud Libraries help you collect your favorite components, organize them into logical libraries, access and view them, to reuse them across your documents and projects. All you have to do is drop colors, type styles, or graphics into the new Library panel (Window > Library) in Illustrator CC. Across Illustrator projects.
3 What's new What's more - you can switch back to a traditional workspace at any point in time to leverage the full collection of Illustrator tools and features. For more information, see the article Touch workspace . Curvature tool Create paths quickly and with visual foresight. Select the Curvature tool (Shift + ~), start with two basic points, and then watch a preview of the how the curve will look like if you were to drop another point at the current location of the cursor.
4 What's new Area Type autosizing Area Type frames now can expand and shrink to accommodate text that you fill into the type frame. You can convert to and from an autosizing or fixed size frame. When set to auto-size and grow automatically, you do not have to manage or bother about overset boxes. Double-click the widget at the bottom of the Area Type frame to toggle the Area Type frame between an auto-sizing frame or a fixed-height frame. When you add, delete, or edit text, the frame resizes automatically.
5 What's new Close paths with better control A task such as precisely closing a path is an oft-repeated vector art workflow. In the 2014 release of Illustrator CC, you now have much better and precise control while connecting end and start points. With this enhancement you can reposition a closing point or choose to break the handles to adjust the closing curve exactly as per your requirement.
6 What's new Other important enhancements Pencil tool enhancements The Pencil tool has been updated with an additional Fidelity setting for finer control over the paths you draw. This additional level has been extended to the Paintbrush and Blob Brush tools as well. Also, you can enable an option that converts the Pencil or Brush tools into the Smooth tool when you press the Option/Alt key. For more information, see the article on the enhanced Pencil tool .
7 Chapter 2: Workspace Workspace basics 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 Creative Cloud look similar so that you can move between the applications easily. You can also adapt each application to the way you work by selecting from several preset workspaces or by creating one of your own.
8 Workspace A Tabbed Document windows B Application bar C Workspace switcher D Panel title bar E Control panel F Tools panel G Collapse To Icons button H Four panel groups in vertical dock Hide or show all panels • (Illustrator, Adobe InCopy®, Adobe InDesign®, Photoshop, Fireworks)To hide or show all panels, including the Tools panel and Control panel, press Tab. • (Illustrator, InCopy, InDesign, Photoshop) To hide or show all panels except the Tools panel and Control panel, press Shift+Tab.
9 Workspace (Illustrator) Adjust panel brightness ❖ In User Interface preferences, move the Brightness slider. This control affects all panels, including the Control panel. Reconfigure the Tools panel You can display the tools in the Tools panel in a single column, or side by side in two columns. (This feature is not available in the Tools panel in Fireworks and Flash.
10 Workspace 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. Enter values in panels and dialog boxes You enter values using the same methods in all panels and dialog boxes. You can also perform simple math in any box that accepts numeric values.
11 Workspace 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.
12 Workspace Note: The following examples use Photoshop for demonstration purposes. The workspace behaves the same in all the products. Rearrange, dock, or float document windows When you open more than one file, the Document windows are tabbed. • To rearrange the order of tabbed Document windows, drag a window’s tab to a new location in the group. • To undock (float or untab) a Document window from a group of windows, drag the window’s tab out of the group.
13 Workspace 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. If you drag to an area that is not a drop zone, the panel floats freely in the workspace.
14 Workspace • To rearrange panels in a group, drag a panel’s tab to a new location in the group. • To remove a panel from a group so that it floats freely, drag the panel by its tab outside the group. • To move a group, drag the title bar (the area above the tabs). Stack floating panels When you drag a panel out of its dock but not into a drop zone, the panel floats freely. The floating panel allows you to position it anywhere in the workspace.
15 Workspace • 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.
16 Workspace • 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. Save and switch workspaces By saving the current size and position of panels as a named workspace, you can restore that workspace even if you move or close a panel. The names of saved workspaces appear in the workspace switcher in the Application bar.
17 Workspace 3 (Photoshop, InDesign, InCopy) Select Window > Workspace > Reset [Workspace Name]. (Photoshop) Restore a saved workspace arrangement In Photoshop, workspaces automatically appear as you last arranged them, but you can restore the original, saved arrangement of panels. • To restore an individual workspace, choose Window > Workspace > Reset Workspace Name. • To restore all the workspaces installed with Photoshop, click Restore Default Workspaces in the Interface preferences.
18 Workspace View hidden tools ❖ Hold down the mouse button on the visible tool. View tool options ❖ Double-click a tool in the Tools panel. Move the Tools panel ❖ Drag its title bar.
19 Workspace 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. The tools return to the Tools panel.
20 Workspace Tool galleries Illustrator provides many tools for creating and manipulating your artwork. These galleries provide a quick visual overview for each tool. Selection tool gallery Illustrator provides the following selection tools: The Selection tool (V) selects entire objects. See Select objects with the Selection tool. The Direct Selection tool (A) selects points or path segments within objects. See Select paths, segments, and anchor points.
21 Workspace The Pen tool (P) draws straight and The Add Anchor Point tool (+) adds The Delete Anchor Point tool (-) curved lines to create objects. See anchor points to paths. See Adding deletes anchor points from paths. See Adding and deleting anchor Drawing with the Pen tool. and deleting anchor points. points. The Line Segment tool (\) draws individual straight line segments. See Draw straight lines with the Line Segment tool.
22 Workspace The Polar Grid tool draws circular chart grids. See Draw circular (polar) grids. The Rectangle tool (M) draws squares and rectangles. See Draw rectangles and squares. The Polygon tool draws regular, multi-sided shapes. See Draw polygons. The Star tool draws stars. See Draw The Flare tool creates lens-flare or The Pencil tool (N) draws and edits stars. solar-flare-like effects. See Drawing freehand lines. See Drawing with flares. the Pencil tool. The Smooth tool smooths Bezier paths.
23 Workspace 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.
24 Workspace The Paintbrush tool (B) draws freehand and calligraphic lines, as well as art, patterns, and bristle brush strokes on paths. See Draw paths and apply brush strokes simultaneously. The Mesh tool (U) creates and edits meshes and mesh envelopes. See Create mesh objects. The Live Paint Bucket tool (K) paints faces and edges of Live Paint groups with the current paint attributes. See Paint with the Live Paint Bucket tool.
25 Workspace The Rotate tool (R) rotates objects around a fixed point. See Rotate objects. The Reflect tool (O) flips objects over The Scale tool (S) resizes objects a fixed axis. See Reflect or flip around a fixed point. See Scale objects. objects. Last updated 10/3/2014 The Shear tool skews objects around a fixed point. See Shear objects with the Shear tool.
26 Workspace The Free Transform tool (E) scales, The Reshape tool adjusts selected rotates, or skews a selection. anchor points while keeping the overall detail of the path intact. See Stretch parts of a path without distorting its overall shape. The Blend tool (W) creates a series The Width tool (Shift+W) allows of objects blended between the you to create a stroke with variable color and shape of multiple objects. width. See Using the Width tool. See Create blends.
27 Workspace Symbolism tool gallery The symbolism tools let you create and modify sets of symbol instances. You create a symbol set using the Symbol Sprayer tool. You can then use the other symbolism tools to change the density, color, location, size, rotation, transparency, and style of the instances in the set. The Symbol Sprayer tool (Shift+S) places multiple symbol instances as a set on the artboard. See Create symbol sets. The Symbol Shifter tool moves symbol instances and change stacking order.
28 Workspace Last updated 10/3/2014
29 Workspace The Column Graph tool (J) creates graphs that compare values using vertical columns. The Stacked Column Graph tool creates graphs that are similar to column graphs, but stacks the columns on top of one another, instead of side by side. This graph type is useful for showing the relationship of parts to the total. The Bar Graph tool creates graphs that are similar to column graphs, but positions the bars horizontally instead of vertically.
30 Workspace The Radar Graph tool creates graphs that compare sets of values at given points in time or in particular categories, and is displayed in a circular format. This type of graph is also called a web graph. Moving and zooming tool gallery Illustrator provides the following tools for moving around in and controlling the view of the artboard: The Hand tool (H) moves the Illustrator artboard within the illustration window.
31 Workspace Improved and efficient user interface Efficient and flexible interface. The newer usability enhancements enable you to use fewer clicks and fewer steps to achieve routine or frequent actions. For example, in the Character panel (Ctrl+T), the font list displays names in the font style itself. You can quickly pick the font of your choice from the list. Inline editing.
32 Workspace 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). Enable the Match User Interface Brightness option to set the tone of the canvas area to match the brightness of the interface. If you prefer the classic Illustrator canvas color, you can set it to default to white. For more information, view the video on user interface enhancements, by Lynda.com. Panels Control panel.
33 Workspace 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.
34 Workspace The Slice tool divides artwork into separate web images.Create slices The Slice Selection tool (Shift-K) 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 Scissors tool (C) cuts paths at specified points. See Split a path The Knife tool cuts objects and paths. See Cut objects with the Knife tool. Artboard overview Artboards represent the regions that can contain printable artwork.
35 Workspace You can view the page boundaries in relation to an artboard by showing print tiling (View > Show Print Tiling). When print tiling is on, the printable and nonprintable areas are represented by a series of solid and dotted lines between the outermost edge of the window and the printable area of the page. Each artboard is bound by solid lines and represents the maximum printable area. To hide the artboard boundaries, choose View > Hide Artboards.
36 Workspace By default all artwork is cropped to an artboard and all artboards print as individual pages. Use the Range option in the Print dialog box to print specific pages, select Ignore Artboards and specify placement options to combine all art onto a single page or tile the artwork as desired. In Illustrator CS5, artboards in a document can automatically rotate to print to the chosen media size. Select the AutoRotate check box in the Print dialog box to set auto rotation for Illustrator documents.
37 Workspace The coordinate system has now been switched to fourth quadrant, which was previously the first quadrant. In Illustrator CS5, when you move downwards, the value of y-axis increases and if you move toward right, the value of xaxis increases. For saving to legacy versions of Illustrator, the Global rulers remain at the position set in legacy document. Although, the origin point does not move to upper left, the coordinate system changes to fourth quadrant.
38 Workspace You can choose between two guide styles—dots and lines—and you can change the color of guides by using either predefined guide colors or colors you select using a color picker. By default, guides are unlocked so that you can move, modify, delete, or revert them, but you can choose to lock them into place. • To show or hide guides, choose View > Guides > Show Guides or View > Guides > Hide Guides.
39 Workspace Smart Guides Smart Guides are temporary snap-to guides that appear when you create or manipulate objects or artboards. They help you align, edit, and transform objects or artboards relative to other objects, artboards, or both by snap-aligning and displaying X, Y location and delta values. You can specify the type of smart guides and feedback that appear (such as measurement labels, object highlighting, or labels) by setting the Smart Guides preferences.
40 Workspace Construction Guides Displays guidelines as you draw new objects. You specify the angles at which you want guidelines drawn from the anchor points of a nearby object. You can set up to six angles. Type an angle in the selected Angles box, select a set of angles from the Angles pop-up menu, or select a set of angles from the pop-up menu and change one of the values in the box to customize a set of angles. The preview reflects your settings.
41 Workspace Adding or removing tools to tools panels 1 In Illustrator, click Window > Tools > New Tools Panel, and then provide a name and click OK. A new Tools panel is created and displayed. A Provide a name for the new tools panel B New tools panel created with a default fill/stroke proxy Note: A Fill/Stroke proxy is added by default. This cannot be removed from the custom tools panel. 2 Drag a tool from an existing tools panel into a new or existing custom tools panel.
42 Workspace A custom tools panel is persistent in the workspace it is created in. If you change to another workspace and then return to the original workspace, any tools panels created are retained and reopened. Managing custom tools panels 1 In Illustrator, click Windows > Tools > Manage Tools Panel.
43 Workspace The Simulate Colored Paper option is useful if you plan to print the document on colored paper. For example, if you draw a blue object on a yellow background, the object appears green. The simulation is only performed when the transparency grid is not shown. About print tiling By default, Illustrator prints each artboard on a single sheet of paper. However, if the artwork is larger than the page sizes available on your printer, you can print onto multiple sheets of paper.
44 Workspace • Choose View > Fit All In Window to zoom out so that all artboards are visible in on the screen. • Choose View > Fit Artboard In Window to zoom in on the active artboard. • In the Navigator panel, click the area of the thumbnail display that you want to view in the illustration window. Alternatively, drag the proxy view area (the colored box) to a different area of the thumbnail display. • Select the Hand tool , and drag in the direction you want the artwork to move.
45 Workspace Tip: You can return all items in the Layers panel to Preview mode by choosing Preview All Layers from the Layers panel menu. Use multiple windows and views You can open multiple windows of a single document at the same time. Each window can have different view settings. For example, you can set one window highly magnified for doing close-up work on some objects and create another window less magnified for laying out those objects on the page.
46 Workspace Anti-aliasing Gives vector objects a smoother on-screen appearance and provides a better idea of how vector artwork will look when printed on a PostScript® printer. Anti-aliasing is helpful because screen resolution is relatively limited, but vector artwork is often printed at a high resolution. To turn on anti-aliasing, choose Edit > Preferences > General (Windows) or Illustrator > Preferences > General (Mac OS), select Anti-aliased Artwork, and click OK.
47 Workspace Depending on the operating system that you are using, the Illustrator preferences file is available at the following location: Note: The folder name may vary depending on the language version you have installed.
48 Workspace Constrain Proportions Keeps the aspect ratio of the artboard intact if you manually resize it. X: and Y: Position Specifies the position of the artboard according to Illustrator’s workspace rulers. To view these rulers, choose View > Show Rulers. Show Center Mark Displays a point in the center of the artboard. Show Cross Hairs Displays cross lines through the center of each side of the artboard.
49 Workspace • Click the Delete Artboard icon at the bottom of the Artboards panel or select the Delete option from the Artboards panel menu (flyout menu). To delete multiple non-contiguous artboards, press Ctrl (Windows) or Command (Mac OS) key and click the artboards from the Artboards panel. • To rearrange artboards in the Artboards panel, select the Rearrange Artboards option from the Artboards panel menu (flyout menu).
50 Workspace • To navigate between artboards, press Alt (Windows) or Option (Mac OS) and click an arrow key. • To view artboards and their contents as outlines, right-click and choose Outline. To see artwork again, right-click and choose Preview. Edit artboards You can create multiple artboards for your document, but only one can be active at a time. When you have multiple artboards defined, you can view them all by selecting the Artboard tool. Each artboard is numbered for easy reference.
51 Workspace Grid by Column Arranges multiple artboards in the specified number of columns. Choose the number of columns from the 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.
52 Workspace If you’re using nonsquare pixels, the ruler provides for easier device-specific pixel calculations. For example, if you specify an artboard of 100 x100 Illustrator points, and you want to know the exact size in device-dependent pixels before exporting the file for use in an NTSC DV Widescreen, you can set the video ruler in Illustrator to use a video ruler pixel aspect ratio of 1.2 (for wide pixels) and the ruler will reflect the change and display the artboard as 83 x100 device pixels (100/1.
53 Workspace Automating tasks Graphic design is a field characterized by creativity, but there are some aspects of the actual work of illustration that can be repetitious. In fact, you’ll probably notice that the time you spend placing and replacing images, correcting errors, and preparing files for printing and web display often reduces the time you have available for doing creative work.
54 Workspace 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.com/go/learn_ai_video. You start a new document by choosing a new document profile based on your intended output.
55 Workspace Create new documents You can create new Illustrator documents from a new document profile or from a template. Creating a document from a new document profile gives you a blank document with the selected profile’s default fill and stroke colors, graphic styles, brushes, symbols, actions, viewing preferences, and other settings.
56 Workspace Note: You can change these settings after you create the document by choosing File > Document Setup and specifying new settings. Color Mode Specifies the color mode for the new document. Changing the color mode converts the default contents (swatches, brushes, symbols, graphic styles) of the selected new document profile to a new color mode, resulting in a color change. Watch for a warning icon when making changes. Raster Effects Specifies the resolution for raster effects in the document.
57 Workspace 2 Customize the document in any of the following ways: • Set up the document window as you want it to appear in new documents you create from the template. This includes the magnification level, scroll position, ruler origin, guides, grids, crop areas, and options in the View menu. • Draw or import any artwork you want to appear in new documents you create from the template. • Delete any existing swatches, styles, brushes, or symbols, you don’t want to retain.
58 Workspace Browse for files using Adobe Bridge Adobe® Bridge is a cross-platform application included with Adobe® Creative Suite® 5 components that helps you locate, organize, and browse the assets you need to create print, web, video, and audio content. You can start Bridge from any Creative Suite component, and use it to access both Adobe and non-Adobe asset types. ❖ To open Adobe Bridge, do one of the following from within Illustrator: • Choose File > Browse In Bridge.
59 Workspace Import settings Note: When you import settings, Illustrator is restarted to apply the settings. Save your artwork before importing settings. 1 In Illustrator, click Edit > My Settings > Import Settings. 2 In the Import Settings dialog displayed, select a settings package file. The settings package is named in the format AI17Settings_date_time. 3 Click OK to import settings. 4 When prompted, click the buttons to complete the import action and restart Illustrator.
60 Workspace Last updated 10/3/2014
61 Chapter 3: Drawing Drawing basics 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. You can also create symbols for use in both Adobe Illustrator and Adobe® Flash® Professional. Here is a video that simplifies drawing in Illustrator CS 5.
62 Drawing 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. 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.
63 Drawing Direction lines are always tangent to (perpendicular to the radius of) the curve at the anchor points. The angle of each direction line determines the slope of the curve, and the length of each direction line determines the height, or depth, of the curve. Note: In Illustrator, you can show or hide anchor points, direction lines, and direction points by choosing View > Show Edges or View > Hide Edges.
64 Drawing • Displays direction points as large solid circles. • Displays direction points as open crosses. Show Handles When Multiple Anchors Are Selected Displays direction lines on all selected anchor points when you use the Direct Selection tool or Group Selection tool to select an object.
65 Drawing The draw behind mode is honored in the following cases: • Creating new layers • Placing symbols • Placing files from the File menu • Using Alt+Drag to duplicate objects • Using Paste in Place and Paste on All Artboards options Draw Inside mode The Draw Inside mode allows you to draw inside the selected object. The Draw Inside mode eliminates the need to perform multiple tasks such as drawing and altering stacking order or drawing, selecting, and creating a clipping mask.
66 Drawing 1 Select the Pen tool. 2 Position the Pen tool where you want the straight segment to begin, and click to define the first anchor point (do not drag). Note: The first segment you draw will not be visible until you click a second anchor point. (Select the Rubber Band option in Photoshop to preview path segments.) Also, if direction lines appear, you’ve accidentally dragged the Pen tool; choose Edit > Undo, and click again.
67 Drawing A Positioning Pen tool B Starting to drag (mouse button pressed) C Dragging to extend direction lines 4 Position the Pen tool where you want the curve segment to end, and do one of the following: • To create a C-shaped curve, drag in a direction opposite to the previous direction line. Then release the mouse button. • To create an S-shaped curve, drag in the same direction as the previous direction line. Then release the mouse button.
68 Drawing 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.
69 Drawing A First smooth point of curved segment completed and Pen tool positioned over endpoint B Dragging to complete the 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.
70 Drawing Draw with the Pencil tool The Pencil tool works primarily the same way in Adobe Illustrator and InDesign. It lets you draw open and closed paths as if you were drawing with a pencil on paper. It is most useful for fast sketching or creating a hand-drawn look. Once you draw a path, you can immediately change it if needed. Anchor points are set down as you draw with the Pencil tool; you do not determine where they are positioned. However, you can adjust them once the path is complete.
71 Drawing 4 After you begin dragging, hold down Ctrl (Windows) or Command (Mac OS). The Pencil tool displays a small merge symbol to indicate you’re adding to the existing path. 5 Drag onto the endpoint of the other path, release the mouse button, and then release the Ctrl or Command key. Note: For best results, drag from one path to the other as if you were simply continuing the paths in the direction they were created. Reshape paths with the Pencil tool 1 Select the path you want to change.
72 Drawing Flares include a center handle and an end handle. Use the handles to position the flare and its rings. The center handle is in the bright center of the flare—the flare path begins from this point. A Center handle B End handle C Rays (shown black for clarity) D Halo E Rings To learn more about creating and editing flares, see this topic in web Help. Note: Complete, updated Help is on the web. The application did not detect an Internet connection.
73 Drawing 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 Press and drag again to add rings to the flare and place the end handle. Before releasing the mouse, Press Up Arrow or Down Arrow to add or subtract rings. Press the tilde (~) key to randomly place the rings.
74 Drawing 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 Do one of the following: • Position the pointer where you want the line to begin, and drag to where you want the line to end. • Click where you want the line to begin, and specify the length and angle of the line.
75 Drawing • 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. note: To create a circle, hold down the Shift key while dragging, or if you are specifying dimensions, once you’ve entered a Width value you can click on the word Height to copy that value into the Height box. For a video on using shape tools, see www.adobe.com/go/vid0036.
76 Drawing • Click where you want the arc to begin. In the dialog box, click a square on the reference point locator to determine the point from which the arc is drawn. Then set any of the following options, and click OK. Length X-Axis Specifies the width of the arc.Length Y-AxisSpecifies the height of the arc.Type Specifies whether you want the object to be an open path or a closed path.Base Along Specifies the direction of the arc.
77 Drawing 2 Do one of the following: • Drag until the grid is the desired size. • Click to set the grid’s reference point. In the dialog box, click a square on the reference point locator to determine the point from which the grid is drawn. Then set any of the following options, and click OK. Default SizeSpecifies the width and height of the entire grid.Concentric DividersSpecifies the number of circular concentric dividers you want to appear in the grid.
78 Drawing Select all anchor points and segments in a path 1 Select the Direct Selection tool or, in Illustrator, the Lasso tool. 2 Drag around the entire path. If the path is filled, you can also click inside the path with the Direct Selection tool to select all anchor points. Copy a path ❖ Select a path or segment with the Selection tool or Direct Selection tool and do one of the following: • Use the standard menu functions to copy and paste paths within or between applications.
79 Drawing Disable or temporarily override automatic Pen tool switching You can temporarily override or disable automatic switching to the Add Anchor Point tool or Delete Anchor Point tool. • To temporarily override switching, hold down Shift as you position the Pen tool over the selected path or an anchor point. This is useful when you want to start a new path on top of an existing path. To prevent Shift from constraining the Pen tool, release Shift before you release the mouse button.
80 Drawing 4 Select additional options, and click OK: Curve Precision Enter a value between 0% and 100% to set how closely the simplified path should follow the original path. A higher percentage creates more points and a closer fit. Any existing anchor points are ignored except for endpoints of a curve and corner points (unless you enter a value for Angle Threshold). Angle Threshold Enter a value between 0 and 180° to control the smoothness of corners.
81 Drawing • To convert a smooth point to a corner point with independent direction lines, drag either direction 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). Release the mouse button only (don’t release any keys you may have pressed to activate the Convert Anchor Point tool), and then drag either direction point.
82 Drawing Erase objects using the Eraser tool 1 Do one the following: • To erase specific objects, select the objects or open the objects in isolation mode. • To erase any object on the artboard, leave all objects unselected. When you have nothing selected, the Eraser tool erases through and across all layers. 2 Select the Eraser tool . 3 (Optional) Double-click the Eraser tool and specify options. 4 Drag over the area you want to erase.
83 Drawing Bearing Varies in angle, roundness, or diameter based on the pressure of a drawing stylus. This option is most useful when used to control the angle of calligraphic brushes, especially when you’re using the brush like a paintbrush. It is available only if you have a graphics tablet that can detect how close to vertical the pen is. Rotation Varies in angle, roundness, or diameter based on how the drawing stylus pen tip is rotated.
84 Drawing A Object is not pixel-aligned B Object is pixel-aligned For a video on drawing pixel-aligned paths for web workflows, see www.adobe.com/go/lrvid5201_ai_en. Aligning new objects to pixel grid The Align New Objects to Pixel Grid option is available in the Advanced section of the New Document dialog box. This option is also available in the Transform panel menu (flyout menu) of the Transform panel.
85 Drawing 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.
86 Drawing Saving selected slices To save only selected slices from the artwork, click File > Save Selected Slices. Anti-aliasing options Text anti-aliasing The Character panel in Illustrator provides the following text anti-aliasing options: • None • Sharp • Crisp • Strong 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.
87 Drawing • When you initially draw a smooth point with the Pen tool, dragging the direction point changes the length of the direction line on both sides of the point. However, when you edit an existing smooth point with the Direct Selection tool, you change the length of the direction line only on the side you’re dragging. Move straight segments 1 With the Direct Selection tool , select the segment you want to adjust. 2 Drag the segment to its new position.
88 Drawing Extend an open path 1 Using the Pen tool, position the pointer over the endpoint of the open path you want to extend. The pointer changes when it’s precisely positioned over the endpoint. 2 Click the endpoint. 3 Do one of the following: • To create a corner point, position the Pen tool where you want to end the new segment, and click. If you are extending a path that ends at a smooth point, the new segment will be curved by the existing direction line.
89 Drawing 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.
90 Drawing Several tracing presets provide pre-specified tracing options for specific types of artwork. For example, if you’re tracing an image that you plan to use as a technical drawing, choose the Technical Drawing preset. All the tracing options change for optimal tracing of a technical drawing. You can also control the level of detail and how the tracing is filled, and even save the settings as a custom preset for future use. For a video on tracing, see Image Trace in Illustrator CS6 on Adobe TV.
91 Drawing 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. Color settings Color settings are displayed based on the settings in the Mode and Palette options: Colors Specifies the number of colors to use in a color tracing result.
92 Drawing Double-click the Pencil Tool icon in the Toolbox to open the Pencil Tool Options dialog. The Fidelity slider has four presets you can choose from. The leftmost slider preset (Accurate) is most accurate for drawing paths. The rightmost slider preset (Smooth) creates the smoothest paths. Choose a preset that suits your drawing needs best. Additional Fidelity preset (Introduced in the 2014 release of Illustrator CC) The Fidelity slider has 5 presets from Illustrator CC 2014.
93 Drawing 2 Keeping the mouse button pressed, release and press the Shift or Alt/Opt key, and draw the next segment. Continuing a path The continue-path cursor ( endpoint. ) is shown when the mouse pointer is within a predefined number of pixels from the The predefined number of pixels is set in the Pencil Tool Options dialog box > Within field. Merging paths To merge two paths: 1 Select the paths you want to merge. 2 Extend one path, and bring it closer to the other path.
94 Drawing A First anchor point and its handles B Rubber Band preview of the path between the first anchor point and the mouse pointer 3 When the preview displayed is the path that you wanted to draw, click the location, and Illustrator draws the path as previewed. Note: When the preview is on, pressing Esc stops showing the preview and ends the path. This is the same action as hitting the keyboard shortcut P while working with the pen tool (with the preview feature off).
95 Drawing Traditionally, you could break the pairing of anchor point handles to create corner points. Later, if you decided to make that point smooth, you had two options: • Convert selected anchor points to smooth (in the Control Panel), or, • Re-drag the handles using the Anchor Point tool. While both techniques work, the original curve is always affected, and, may not look the same again.
96 Drawing In previous versions of Illustrator, on a path that has a smooth starting point, there was no way you could adjust the closing curve while closing a path. If the starting point of the path was a corner - then it could be done. However, designers using a stylus usually created all anchor points as smooth (because of the sensitivity of the stylii, a clean click is usually tough). Enhancement: In Illustrator CC 2014, press Opt/Alt, and break the pairing of handles of the closing anchor point.
97 Drawing Enhancement: In Illustrator CC 2014, this warning has been removed. If you click incorrectly, no change occurs to the selected path or anchor point. This change is aimed at reducing one click to dismiss the warning, translating into one less break in a design workflow. Symbols About symbols A symbol is an art object that you can reuse in a document.
98 Drawing Change the display of symbols in the panel 1 Select a view option from the panel menu: Thumbnail View to display thumbnails, Small List View to display a list of named symbols with a small thumbnail, or Large List View to display a list of named symbols along with a large thumbnail. 2 Drag the symbol to a different position. When a black line appears in the desired position, release the mouse button. 3 Select Sort By Name from the panel menu to list the symbols in alphabetical order.
99 Drawing • Choose Place Symbol Instance from the Symbols panel menu. note: A single symbol placed anywhere in your artwork (as opposed to existing only in the panel) is called an instance. Create a symbol 1 Select the artwork you want to use as a symbol. 2 Do one of the following: • Click the New Symbol button in the Symbols panel. • Drag the artwork to the Symbols panel. • Choose New Symbol from the panel menu. Note: By default, the selected artwork becomes an instance of the new symbol.
100 Drawing Use 9-slice scaling You can use 9-slice scaling (scale-9) to specify component-style scaling for graphic style and movie clip symbols. This type of scaling lets you create movie clip symbols that scale appropriately for use as user interface components, as opposed to the type of scaling typically applied to graphics and design elements. The symbol is conceptually divided into nine sections with a grid-like overlay, and each of the nine areas is scaled independently.
101 Drawing Note: The options to Replace a symbol instance with a different symbol, break link when you Expand a symbol instance, and Reset transformationsdo not work on symbols in perspective. More Help topics Expand objects Modify a symbol instance After you modify a symbol instance, you can redefine the original symbol in the Symbols panel. When you redefine a symbol, all existing symbol instances take on the new definition. 1 Select an instance of the symbol.
102 Drawing • Select a new symbol in the Symbols panel, and choose Replace Symbol from the Symbols panel menu. 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.
103 Drawing Open symbol libraries ❖ Do one of the following: • Choose Window > Symbol Libraries > [symbol]. • Choose Open Symbol Library in the Symbols panel menu, and choose a library from the list that appears. • Click the Symbols Library Menu button on the Symbols panel, and choose a library from the list that appears. To automatically open a library when you start Illustrator, choose Persistent from the library’s panel menu.
104 Drawing 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. As you work with symbol sets, keep in mind that the symbolism tools affect only the symbol or symbols selected in the Symbols panel.
105 Drawing 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.
106 Drawing To achieve a method of colorization that will also affect black and white objects, use the Symbol Styler tool with a graphic style that uses the desired fill color. 1 In the Color panel, select the fill color that you want to use as the colorization color. 2 Select the Symbol Stainer tool and do one of the following: • Click or drag over the symbol instances you want to stain with the colorization color.
107 Drawing 2 Select a style in the Graphic Styles panel, and do one of the following: • Click or drag where you want to apply the style to the symbol set. The amount of style applied to the symbol instances increases, and the style gradually changes. • Hold down Alt (Windows) or Option (Mac OS) as you click or drag to decrease the style amount and reveal more of the original, unstyled symbol.
108 Drawing • Define real work objects and draw objects with the specified real world measurements in perspective. For a video on perspective drawing, see www.adobe.com/go/lrvid5205_ai_en. Perspective grid presets Illustrator provides presets for one-point, two-point, and three-point perspectives. 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.
109 Drawing Type Select the type of preset: One Point Perspective, Two Point Perspective, or Three Point Perspective. Units Select the units to measure the grid size. The options are centimeters, inches, pixels, and points. Scale Select the grid scale to view or set the artboard and real-world measurements. To customize the scale, select the Custom option. In the Custom Scale dialog box, specify the Artboard and Real World proportions. Gridline every This attribute determines the grid cell size.
110 Drawing 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.
111 Drawing 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. Notice that the pointer changes to a two-way arrow pointer ( ) when you move the pointer over the vanishing points.
112 Drawing You can also adjust the left, right, and horizontal grid planes using the respective grid plane control widgets. The ) when you move the pointer over the grid plane controls. pointer changes to a two-way arrow ( , Holding the Shift key while moving the grid planes, constrains the movement to the extent of cell size. If you shift the origin, the x and y coordinates of the horizontal plane and the x coordinate of vertical planes are affected.
113 Drawing 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 two-way arrow 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 Note: Gridlines are set to display onscreen when there is a 1-pixel gap in them.
114 Drawing You can also adjust the grid extent to increase or 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. Drawing new objects in perspective To draw objects in perspective, use the line group tools or rectangle group tools while the grid is visible.
115 Drawing Note: The Flare tool is not supported with Perspective Grid. When you draw an object in perspective, use Smart Guides to align the object to other objects. The alignment is based on the perspective geometry of objects. Guides appear as the object approaches the edge or anchor point of other objects. You can use numerical values for any of the rectangle or line group tools (other than the Flare tool).
116 Drawing Selecting objects in perspective Use the Perspective Selection tool to select objects in perspective. The Perspective Selection tool provides a marquee to select objects using the active plane settings. You can select between normal marquee and the perspective marquee after starting to drag using the Perspective Selection tool and then switch between different planes of the grid using 1, 2, 3, or 4 keys.
117 Drawing 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. You can also use the Transform Again command (Object > Transform > Transform Again) or the keyboard shortcut Ctrl+D (Windows) or Cmd+D (Mac OS) to move objects in perspective.
118 Drawing To create a copy of the object parallel to its current position: 1 Select the Perspective Selection tool from the Tools panel or by pressing Shift+V. 2 Press Alt and drag (Windows) or Option and drag (Mac OS) the grid plane control depending on the grid plane where the object is placed. Automatic plane positioning The automatic plane positioning feature allows you to create objects by inferring the height or depth of the object.
119 Drawing Before drawing or placing objects, the object height can be inferred from: • Other objects by going to one of the anchor points (getting the anchor label) and pressing Shift, which temporarily hides other planes. • Grid lines by going to the intersection point and pressing the Shift key. Changing plane in this state brings that plane to the selected offset. Once the object is drawn or placed, the inference mode is reset and all planes are restored to normal visibility.
120 Drawing Move plane to match object When you want to draw or bring objects in perspective at the same depth or height as an existing object, select the existing object in perspective and click Object > Perspective > Move Plane to Match Object to bring the corresponding grid to the desired height or depth. You can now draw or bring new objects in perspective. Scale objects in perspective You can scale objects in perspective using the Perspective Selection tool.
121 Drawing The Edit Symbol option is also available in the Control panel and under the Object > Perspective menu. In addition, you can edit a symbol in isolation mode or by double-clicking the object. Depending on whether you are editing a symbol or text, the options in the Control panel change to Edit Symbol or Edit Text. A symbol instance in perspective is the same as an expanded symbol instance. You can edit a symbol definition just as you would edit the symbol definition of a flat symbol instance.
122 Drawing A Plane switching widget B Left Vanishing Point C Vertical Grid Extent D Perspective Grid Ruler E Right Vanishing Point F Horizon Line G Horizon Height H Ground Level I Horizon Level J Extent of Grid K Grid Cell Size L Ground Level M Extent of Grid N Right Grid Plane Control O Horizontal Grid Plane Control P Left Grid Plane Control Q Origin The Perspective Grid tool group consists of the Perspective Grid tool and the Perspective Selection tool .
123 Drawing You can set options to position the widget on any of the four screen corners and choose to display it when the Perspective Grid is visible. To set these options, double-click the Perspective Grid icon in the Tools panel. In the Perspective Grid Options dialog box, you can select the following: 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.
124 Drawing Automatically trace artwork using Live Trace 1 Open or place a file to use as the source image for the tracing. 2 With the source image selected, do one of the following: • To trace the image using a tracing preset, click the Tracing Presets and Options button and select a preset. in the Control panel, • To trace the image using the default tracing options, click Live Trace in the Control panel, or choose Object > Live Trace > Make.
125 Drawing Max Stroke Weight Specifies the maximum width of features in the original image that can be stroked. Features larger than the maximum width become outlined areas in the tracing result. Min Stroke Length Specifies the minimum length of features in the original image that can be stroked. Features smaller than the minimum length are omitted from the tracing result. Path Fitting Controls the distance between the traced shape and the original pixel shape.
126 Drawing • 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. Specify the colors used for tracing 1 Create a swatch library that contains the colors you want to use in the tracing. 2 Make sure that the swatch library is open, and click the Tracing Options Dialog button in the Control panel.
127 Drawing Convert a tracing object to a Live Paint object When you are satisfied with the results of a tracing, you can convert the tracing object to paths or to a Live Paint object. This final step allows you to work with the tracing as you do other vector artwork. Once you convert the tracing object, you can no longer adjust the tracing options. 1 Select the tracing object.
128 Drawing 2 Trace over the file using the Pen tool or the Pencil tool. 3 To hide the template layer, choose View > Hide Template. Choose View > Show Template to see it again. 4 To turn a template layer into a regular layer, double-click the template layer in the Layers panel, deselect Template, and click OK. Automatic corner generation | Illustrator CC Overview In a pattern brush, different tiles make up the overall pattern.
129 Drawing A The area marked by the red outline displays the corners that have been generated automatically.
130 Chapter 4: Color About color Applying colors to artwork is a common Adobe Illustrator task, and one that requires some knowledge of color models and color modes. When applying color to artwork, keep in mind the final medium in which the artwork will be published, so that you can use the correct color model and color definitions. Experimenting and applying color is easy using the feature-rich Swatches panel, Color Guide panel, and Edit Colors/Recolor Artwork dialog box in Illustrator.
131 Color RGB A large percentage of the visible spectrum can be represented by mixing red, green, and blue (RGB) colored light in various proportions and intensities. Where the colors overlap, they create cyan, magenta, and yellow. RGB colors are called additive colors because you create white by adding R, G, and B together—that is, all light is reflected back to the eye. Additive colors are used for lighting, television, and computer monitors.
132 Color A Cyan B Magenta C Yellow D Black You can work with color values using the CMYK color mode, which is based on the CMYK color model. In CMYK mode, each of the CMYK process inks can use a value ranging from 0 to 100%. The lightest colors are assigned small percentages of process ink colors; darker colors have higher percentage values. For example, a bright red might contain 2% cyan, 93% magenta, 90% yellow, and 0% black.
133 Color 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.
134 Color The range of color encompassed by a color space is called a gamut. The different devices (computer monitor, scanner, desktop printer, printing press, digital camera) throughout your workflow operate within different color spaces and each with different gamuts. Some colors within the gamut of your computer monitor are not within the gamut of your inkjet printer, and vice versa. When a color cannot be produced on a device, it’s considered to be outside the color space of that particular device.
135 Color About process colors A process color is printed using a combination of the four standard process inks: cyan, magenta, yellow, and black (CMYK). Use process colors when a job requires so many colors that using individual spot inks would be expensive or impractical, as when printing color photographs.
136 Color More Help topics Selecting colors Using and creating swatches Color groups (harmonies) Adjusting colors Selecting colors 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.
137 Color 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 More Help topics About colors in digital graphics 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).
138 Color Color panel overview You use the Color panel (Window > Color) to apply color to an object’s fill and stroke, and also to edit and mix colors. The Color panel can display color values using different color models. By default, only the most commonly used options are visible in the Color panel.
139 Color Using and creating swatches 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. You can open libraries of swatches from other Illustrator documents and various color systems. Swatch libraries appear in separate panels and are not saved with the document.
140 Color 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 New Swatch button Change the display of swatches ❖ Select a view option from the Swatches panel menu: Small Thumbnail View, Medium Thumbnail View, Large Thumbnail View, Small List View, or L
141 Color Change the order of swatches You can reorder individual swatches as well as swatches inside a color group. ❖ Do one of the following: • Select Sort ByName or Sort By Kind from the Swatches panel menu. These commands only work on individual swatches, not swatches in a color group. • Drag a swatch to a new location.
142 Color Add colors from artwork to Swatches panel You can automatically add all the colors from selected artwork or all the colors in your document to the Swatches panel. Illustrator finds the colors that are not already in the Swatches panel, converts any process colors to global colors, and adds them to the panel as new swatches.
143 Color Import swatches from another document You can import all swatches or individual swatches from another document. • To import all swatches from another document, choose Window > Swatch Libraries > Other Library or choose Open Swatch Library > Other Library from the Swatches panel menu. Select the file from which you want to import swatches, and click Open. The imported swatches appear in a swatch library panel (not the Swatches panel).
144 Color 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. Set additional swatch options and click OK. (See Swatch options.
145 Color When you delete a spot-color or global process-color swatch (or a pattern or gradient containing a spot or global process color), all objects painted with those colors are converted to the non-global process color equivalent. Swatch options To set swatch options, double-click an existing swatch or select New Swatch from the Swatches panel menu. Swatch Name Specifies the name of the swatch in the Swatches panel. Color Type Specifies if the swatch is a process color or spot color.
146 Color More Help topics Group swatches Create color themes with Kuler Color Guide panel overview Use the Color Guide panel as a tool for color inspiration while you create your artwork. The Color Guide panel suggests harmonious colors based on the current color in the Tools panel. You can use these colors to color artwork, or you can edit them in the Edit Colors/Recolor Artwork dialog box, or save them as swatches or swatch groups in the Swatches panel.
147 Color Show Vivid/Muted Decreases the saturation toward gray in variations on the left and increases saturation toward gray in variations on the right Note: If you’re using spot colors, use only the Tints/Shades variation and choose colors from the tint (right) side of the variation grid. All other variations cause spot colors to be converted to process. Specify the number and range of color variations that appear in the panel 1 Choose Color Guide Options from the Color Guide panel menu.
148 Color 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. The main areas of the dialog box are: Edit Use the Edit tab to create new color groups or edit existing color groups.
149 Color Recolor Artwork button in Control panel Use this button when you want to edit the colors of the selected artwork using the Recolor Artwork dialog box. This button is available when the selected artwork contains two or more colors. note: Editing colors this way is a convenient way to globally adjust colors in artwork when global colors weren't used in the artwork's creation.
150 Color • Click a color variation in the Color Guide panel, and then click the Set Base Color To The Current Color icon . 2 Choose a rule from the Harmony Rules menu. Note: To confine colors to a swatch library, click the Limits The Color Group To Colors In A Swatch Library button and choose library from the list.
151 Color 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.
152 Color Displays colors as a set of segmented color patches. This wheel makes it easy to see individual colors, but doesn’t provide as many colors to choose from as the continuous wheel. Color bars Displays only colors from the color group. They appear as solid bars of color that you can select and edit individually. You can reorganize colors in this display by dragging and dropping color bars to the left or right.
153 Color • To save the changes to your original color group (thus overwriting the original color group), click Save Changes To Color Group . Edit a color group using a color wheel 1 In the Edit Colors/Recolor Artwork dialog box, select the desired color group from the Color Groups storage area, if necessary. 2 If you have selected an object on the artboard, click Recolor Art to preview the colors on the artwork.
154 Color Edit an individual color in a color group When you use a harmony rule to create a color group, the colors are linked by default. When a color group is linked, editing one color changes the other colors according to the harmony rule. To edit one color without changing the others, unlink the color markers from the harmony rule.
155 Color Edit colors in a color group using the Color Picker You can use the Color Picker to change colors in a color group. 1 In the Edit Colors/Recolor Artwork dialog box, do one of the following: • Double-click a wheel marker or right-click a wheel marker and choose Color Picker. • Double-click a color bar. • Click the color swatch to the left of the color sliders.
156 Color Delete a color group ❖ Select a color group in the Color Groups list and click Delete . Or right-click and choose Remove Color Group. Assign colors to your artwork The Assign tab of the Edit Colors/Recolor Artwork dialog box lets you assign colors from a color group to your artwork. You can assign colors in the following ways: • Assign new colors to your artwork using a color group from the Color Groups list.
157 Color A Active color group B Get Colors From Selected Art C Colors from selected artwork D New colors from active color group E Options for working with entire rows F Recolor Artwork 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.
158 Color • To assign a new color to a different row of current colors, drag the new color up or down in the New column. (To add a new color to or remove a color from the New column, right-click in the list and choose Add New Color or Remove Color.) • To change a color in the New column, right-click it and choose Color Picker to set a new color. • To exclude a row of current colors from being reassigned, click the arrow again, click the dash. between the columns.
159 Color 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. You can easily reduce the number of colors in your artwork using the Recolor Artwork dialog box. You can choose whether to use a preset for reducing colors, for example, you can choose Grayscale Art to quickly convert your selected artwork to grayscale.
160 Color 5 Click the Color Reduction Options button , specify any of the following options, and click OK: Preset Specifies a preset color job, including the number of colors used and optimal settings for that job. If you select a preset and then change any of the other options, the preset changes to Custom. Colors Specifies the number of new colors that the current colors are reduced to. Limit To Library Specifies a swatch library from which all new colors are derived.
161 Color 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. The Kuler panel is available in Adobe Photoshop® CS5, Adobe Flash® Professional CS5, Adobe InDesign® CS5, Adobe Illustrator® CS5, and Adobe Fireworks® CS5.
162 Color Kuler panel | Illustrator CC Adobe® Kuler® is a web-based application used to experiment with, create, and share color themes that you use in a project. Illustrator CC has a Kuler panel that enables you to view and use the color themes that you have created or marked as favorite in the Kuler application. Important: The Kuler panel is not available in the French version of Illustrator.
163 Color To add a swatch: • In the Kuler panel, select a swatch, and then click the flyout menu > Add to Swatches. To add multiple swatches: • In the Kuler panel, hold the Ctrl/Cmd key and select multiple swatches, and then click the flyout menu > Add to Swatches. You can also use the Shift key to select multiple swatches. To add a theme: • In the Kuler panel, select the entire theme by clicking the theme's folder icon. The entire theme is added to the Swatches panel.
164 Color Blend colors The Blend commands create a series of intermediate colors from a group of three or more filled objects, based on the objects’ vertical or horizontal orientation, or on their stacking order. Blending does not affect strokes or unpainted objects. 1 Select three or more filled objects. 2 Do one of the following: • To fill the intermediate objects with graduated blends between the frontmost and backmost filled objects, choose Edit > Edit Colors > Blend Front To Back.
165 Color Invert multiple colors 1 Select the objects whose colors you want to invert. 2 Choose Edit > Edit Colors > Invert Colors. You can use the Color panel to invert individual colors. Adjust color balance of one or more colors 1 Select the objects whose colors you want to adjust. 2 Choose Edit > Edit Colors > Adjust Color Balance. 3 Set the Fill and Stroke options.
166 Color • Select Use CMYK Values From The Manufacturer’s Process Book if you want spot colors to match earlier versions of Illustrator. More Help topics Lab 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. Use the Edit > Edit Colors> Adjust Colors command to convert objects to grayscale and adjust the shades of gray at the same time.
167 Color Mix overlapping colors You can use blending modes, the Hard Mix effect, or the Soft Mix effect to mix overlapping colors. Blending modes Provide many options for controlling overlapping colors, and should always be used in place of Hard Mix and Soft Mix for artwork containing spot colors, patterns, gradients, text, or other complex artwork. Hard Mix effect Combines colors by choosing the highest value of each of the color components.
168 Chapter 5: Painting 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.
169 Painting With the Live Paint method, you paint more like you would with a traditional coloring tool, without regard to layers or stacking order, which can make for a more natural workflow. All objects in a Live Paint group are treated as if they are part of the same flat surface. This means you can draw several paths and then color separately each area enclosed by these paths (called a face).
170 Painting Fill and Stroke controls Controls for setting the fill and stroke are available in the Tools panel, the Control panel, and the Color panel. You can use any of the following controls in the Tools panel to specify color: Fill button Double-click to select a fill color using the Color Picker. Stroke button Double-click to select a stroke color using the Color Picker. Swap Fill And Stroke button Click to swap colors between the fill and stroke.
171 Painting • Select the Eyedropper tool and Alt-click (Windows) or Option-click (Mac OS) an object to apply the current attributes, including the current fill and stroke. • Click the None button to remove the object’s current fill. You can quickly apply color to an unselected object by dragging a color from the Fill box, Color panel, Gradient panel, or Swatches panel onto the object. Dragging does not work on Live Paint groups.
172 Painting Create merged paths Remember that paths with strokes cannot be merged. 1 Select the path into which you want to merge a new path. 2 In the Appearances panel, deselect New Art Has Basic Appearance. When this option is deselected, the Blob Brush tool uses the attributes of the selected artwork. 3 Select the Blob Brush tool , and make sure it uses the same appearances as the selected artwork. 4 Draw paths that intersect with the artwork.
173 Painting Remove the fill or stroke from an object 1 Select the object. 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.
174 Painting Note: It may be necessary to adjust the position of the new fill or stroke in the Appearance panel. For example, if you create two strokes of different widths, make sure that the narrower stroke is above the wider stroke in the Appearance panel. More Help topics Targeting items for appearance attributes Appearance panel overview Create strokes with variable widths About the Width tool The Width tool is available from the Tools panel.
175 Painting 2 Drag one width point on to the other width point to create a discontinuous width point for the stroke. For discontinuous points, the Width Point Edit dialog box shows both sets of side widths. The Single Width Only check boxes allow using either incoming or outgoing width leaving a single continuous width point.
176 Painting You can drag the handles outward or inward to adjust the stroke width at that location on the path. Width points created at a corner or at a direct-selected anchor point, stick to the anchor point during basic editing of the path. To change the position of the width point, drag the point along the path. To select multiple width points, press Shift and click. The Width Point Edit dialog box is displayed, where you can specify values for Side1 and Side 2 of multiple points.
177 Painting 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. You can stroke each path segment with a different color and fill each enclosed path (note, not just closed paths) with a different color, pattern, or gradient. Live Paint is an intuitive way to create colored drawings.
178 Painting 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.
179 Painting Certain types of objects, such as type, bitmap images, and brushes, cannot be directly made into Live Paint groups. You first need to convert these objects into paths. For example, if you try to convert an object that uses brushes or effects, the complex visual appearance is lost in the conversion to Live Paint. However, you can retain much of the appearance by first converting the objects to regular paths and then converting the resulting paths to Live Paint.
180 Painting 2 Do one of the following: • Choose Object > Live Paint > Expand. • Choose Object > Live Paint > Release. Select items in Live Paint groups Use the Live Paint Selection tool to select individual faces and edges in a Live Paint group. Use the Selection tool to select the entire Live Paint group, and the Direct Selection tool to select paths inside a Live Paint group.
181 Painting Modify Live Paint groups When you modify a path in a Live Paint group, Illustrator colors the modified or new faces and edges using fills and strokes from the existing group. If the results are not what you expect, you can reapply the colors you want using the Live Paint Bucket tool. When you delete edges, the fill floods across any newly expanded face. For example, if you delete a path that divides a circle in half, the circle is filled with one of the fills previously in the circle.
182 Painting note: Paths inside a Live Paint group may not exactly align with similar or identical paths outside the Live Paint group. Resize an individual object or path ❖ Do one of the following: • Using the Direct Selection tool, click the path or object to select it. Then choose the Selection tool and click the path or object again to edit it. • Using the Selection tool, double-click the Live Paint Group to put it into isolation mode. Then click a path or object to edit it.
183 Painting More Help topics Tools panel overview Fill and Stroke controls Apply a fill color to an object Live Paint Bucket options The Live Paint Bucket options let you specify how the Live Paint Bucket tool works, choosing whether to paint just fills, just strokes, or both, as well as how to highlight faces and edges as you move the tool over them. You can see these options by double-clicking the Live Paint Bucket tool. Paint Fills Paints the faces of Live Paint groups.
184 Painting Close Gaps With Paths When selected, inserts unpainted paths into your Live Paint group to close gaps (rather than simply preventing paint from flowing though the gaps). Note that since these paths are unpainted, it may appear gaps are still there even though they have been closed. Preview Displays currently detected gaps in Live Paint groups as colored lines, based on the preview color you chose.
185 Painting A Calligraphic Brush B Scatter Brush C Art Brush D Pattern Brush E Bristle Brush Scatter brushes and Pattern brushes can often achieve the same effect. However, one way in which they differ is that Pattern brushes follow the path exactly, while Scatter brushes do not. For a video on using brushes, see www.adobe.com/go/vid0044. More Help topics Draw and merge paths with the Blob Brush tool Brushes panel overview The Brushes panel (Window > Brushes) displays brushes for the current file.
186 Painting Duplicate a brush in the Brushes panel ❖ Drag the brush onto the New Brush button or choose Duplicate Brush from the Brushes panel menu. Delete the brushes from the Brushes panel ❖ Select the brushes and click the Delete Brush button . You can select brushes that aren’t used in a document by choosing Select All Unused from the Brushes panel menu. Work with brush libraries Brush libraries (Window > Brush Libraries > [library]) are collections of preset brushes that come with Illustrator.
187 Painting 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.
188 Painting Illustrator places the components of the expanded path in a group. Within the group are a path and a subgroup containing the brush stoke outlines. Create or modify brushes You can create and customize calligraphic, scatter, art, pattern, and bristle brushes depending on your requirement. For scatter, art, and pattern brushes, you must first create the artwork.
189 Painting Brush options You can specify different options for the different types of brushes. To change the options for a brush, double-click the brush in the Brushes panel. Scatter, Art, and Pattern brushes all have identical options for colorization. To customize a stroke instance for Art Brushes or Pattern Brushes, click the Options of Selected Objects icon in the Brushes Panel and set the stroke options.
190 Painting Tints Displays the brush stroke in tints of the stroke color. Portions of the art that are black become the stroke color, portions that aren’t black 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.
191 Painting Rotation Creates a brush that varies in angle, roundness, or diameter based on how the drawing stylus pen tip is rotated. This option is most useful when used to control the angle of brushes. It is available only if you have a graphics tablet that can detect this type of rotation. Art brush options Width Adjusts the width of the art relative to its original width. You can specify the width using the Width option slider.
192 Painting 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. 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. The Scale drop-down list for pattern brush tool include pen tablet options for adjusting scale variations, such as Pressure, Stylus Wheel, Tilt, Bearing, and Rotation.
193 Painting Spacing Adjusts the space between tiles. Tile buttons Let you apply different patterns to different parts of the path. Click a tile button for the tile you want to define, and select a pattern swatch from the scroll list. Repeat to apply pattern swatches to other tiles as needed. Note: You must add the pattern tiles you want to use to the Swatches panel before you set pattern brush options.
194 Painting A Stretch To Fit B Add Space To Fit C Approximate Path Colorization Pick a color for the stroke and method of colorization. You can select from different colorization methods using this drop-down list. The options are Tints, Tints and Shades, and Hue Shift. For a video on using the enhanced features of art brushes, see www.adobe.com/go/lrvid5214_ai_en. Bristle brush Bristle brush allows you to create brush strokes with the appearance of a natural brush with bristles.
195 Painting A cursor annotator that simulates the tip of an actual brush is displayed when using a tablet and stylus that support rotation. This annotator does not appear when other input devices such as a mouse are used. The annotator is also disabled while using the precise cursors. Note: Use the Wacom Intuos 3 or higher tablet with Art (6D) pen to explore the full capabilities of the Bristle brush. Illustrator can interpret all 6-degrees of freedom that this device combination provides.
196 Painting 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). Specify the brush size using the slider or directly entering the size in the available text field. Range can be between 1mm and 10mm.
197 Painting Transparency and blending modes About transparency Transparency is such an integral part of Illustrator that it’s possible to add transparency to your artwork without realizing it. You can add transparency to artwork by doing any of the following: • Lowering the opacity of objects so that underlying artwork becomes visible. • Using opacity masks to create variations in transparency. • Using a blending mode to change how colors interact among overlapping objects.
198 Painting Show all options in the Transparency panel ❖ Choose Show Options from the panel menu. Show a thumbnail of the selected object in the Transparency panel ❖ Choose Show Thumbnail from the panel menu. Or, click the double triangle on the panel’s tab to cycle through the display sizes. View transparency in artwork It’s important to be aware of when you’re using transparency, because you need to set some extra options when printing and saving transparent artwork.
199 Painting Create a transparency knockout group In a transparency knockout group, the elements of a group do not show through each other. 1 In the Layers panel, target the group or layer you want to turn into a knockout group. 2 In the Transparency panel, select Knockout Group. If this option isn’t visible, select Show Options from the panel menu. Selecting the Knockout Group option cycles it through three states: on (check mark), off (no mark), and neutral (square with a line through it).
200 Painting 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). When you move the masked artwork, the masking object moves along with it.
201 Painting 2 Alt-click (Windows) or Option-click (Mac OS) the mask thumbnail to hide all other artwork in the document window. (If the thumbnails aren’t visible, choose Show Thumbnails from the panel menu.) 3 Use any of the Illustrator editing tools and techniques to edit the mask. 4 Click the masked artwork’s thumbnail (left thumbnail) in the Transparency panel to exit mask-editing mode.
202 Painting Use transparency to shape a knockout You can use the Opacity & Mask Define Knockout Shape option to make a knockout effect proportional to the object’s opacity. In areas of the mask that are close to 100% opacity, the knockout effect will be strong; in areas with less opacity, the knockout effect will be weaker. For example, if you use a gradient-masked object as a knockout, the underlying object will be knocked out progressively, as if it were being shaded by a gradient.
203 Painting 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. • The base color is the underlying color in the artwork. • The resulting color is the color resulting from the blend. For a video on working with blending modes, see www.adobe.com/go/vid0055.
204 Painting multiplied. This is useful for adding shadows to artwork. Painting with pure black or white results in pure black or white. Difference Subtracts either the blend color from the base color or the base color from the blend color, depending on which has the greater brightness value. Blending with white inverts the base-color values. Blending with black produces no change. Exclusion Creates an effect similar to but lower in contrast than the Difference mode.
205 Painting 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.
206 Painting A Gradient Fill box B Gradient menu C Fill Gradient D Stroke Gradient E Reverse Gradient F Midpoints G Color Stop H Opacity I Location J Panel Menu K Stroke Gradient Type L Angle M Aspect Ratio N Delete Stop Gradient tool You use the Gradient tool to add or edit gradients. When you click the Gradient tool in an unselected, nongradient filled object it fills the object with the last used gradient. The Gradient tool also provides most of the same features as the Gradient panel.
207 Painting 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. Patterns intended for filling objects (fill patterns) differ in design and tiling from patterns intended to be applied to a path with the Brushes panel (brush patterns).
208 Painting • If you draw a bounding box around the artwork, make sure that the box is a rectangle, that it is the backmost object of the tile, 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.
209 Painting 6 When the copy of the object has snapped into place, release the mouse button, and then release the keys. 7 Repeat steps 2 through 6 until you’ve built the pattern you want. 8 Use the Rectangle tool to do one of the following: • For a fill pattern, draw a bounding box from the center point of the upper left object to the center point of the lower right object. • For a brush pattern, draw a bounding box that surrounds the objects and coincides with their outer boundaries.
210 Painting 9 When you finish with the top side only, select all of the lines or objects crossing the top side and the bounding box; then press Alt+Shift (Windows) or Option+Shift (Mac OS) and drag downward to create a copy and to constrain the move. 10 When the upper left corner point of the copy snaps to the lower left corner point of the rectangle, release the mouse button and then the keys. 11 Deselect everything.
211 Painting 6 Using the Rotate tool, Alt+Shift-click (Windows) or Option+Shift-click (Mac OS) the lower left corner of the bounding box. Enter a value of 90°, and click Copy to create a copy flush left of the first tile. This tile becomes the corner tile. 7 Using the Selection tool, drag the left tile down by the top right anchor point, pressing Alt+Shift (Windows) or Option+Shift (Mac OS) to make a copy and constrain the move so that you create a third tile beneath the second.
212 Painting More Help topics Create or modify brushes Brush options Modify patterns 1 Make sure that nothing is selected in your artwork. 2 In the Swatches panel, select the pattern swatch you want to modify. 3 Drag the pattern swatch onto your artboard, and edit the pattern tile on the artboard. 4 Select the pattern tile, and Alt-drag (Windows) or Option-drag (Mac OS) the modified pattern on top of the old pattern swatch in the Swatches panel.
213 Painting Create mesh objects You can create mesh objects from vector objects, with the exception of compound paths and text objects. You cannot create mesh objects from linked images. To improve performance and redraw speed, keep the size of mesh objects to a minimum. Complex mesh objects can greatly reduce performance. Therefore, it is better to create a few small, simple mesh objects than to create a single, complex mesh object.
214 Painting • To delete a mesh point, Alt-click (Windows) or Option-click (Mac OS) the mesh point with the Mesh tool. • To move a mesh point, drag it with the Mesh tool or Direct Selection tool. Shift-drag a mesh point with the Mesh tool to keep the mesh point on a mesh line. This is a convenient way to move a mesh point along a curved mesh line without distorting the mesh line.
215 Painting You can apply stroke options to an entire object, or you can use Live Paint groups and apply different strokes to different edges within the object. Layers Magazine instructor Dave Cross shows you how to apply fill and stroke in Illustrator and some handy shortcuts to work with fill and stroke in this video. More Help topics Live Paint groups Workspace basics Apply a stroke color, width, or alignment 1 Select the object.
216 Painting 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. 3 Click the icon: Align Dashes to Corners and Path Ends, Adjusting Length to Fit . This option allows you to make the dashes at the corners and ends of the paths consistent and predictable. If you need to retain the appearance icon.
217 Painting Round Cap Creates stroked lines with semicircular ends. Projecting Cap Creates stroked lines with squared ends that extend half the line width beyond the end of the line. This option makes the weight of the line extend equally in all directions around the line. Miter Join Creates stroked lines with pointed corners. Enter a miter limit between 1 and 500. The miter limit controls when the program switches from a mitered (pointed) join to a beveled (squared-off) join.
218 Painting Create and edit patterns This article describes the pattern creation and editing workflows available in Adobe Illustrator CS6 and later. For information on working with patterns in an earlier version of Illustrator, see Patterns. Create or edit a pattern 1 Do one of the following: • To create a pattern, select the artwork that you would like to create the pattern from, and then choose Object > Pattern > Make.
219 Painting Brick Offset Applies to: • Brick by Row. Determines by how much tile width the centers of tiles in adjacent rows are out of vertical alignment. • Brick by Column. Determines by how much tile height the centers of tiles in adjacent columns are out of horizontal alignment. Width / Height Specifies the overall height and width of the tile. You can choose various values, smaller, or larger than the height and width of the artwork.
220 Painting Create an elliptical gradient You can create linear, radial, or elliptical gradients. When you change the aspect ratio for a radial gradient, it becomes an elliptical gradient for which you can also change the angle and make it tilt. 1 In the Gradient panel, choose Radial from the Type menu. 2 Specify an Aspect Ratio value other than 100%. 3 To tilt the ellipse, specify an Angle value other than 0.
221 Painting 2 Select all of the objects that you want filled. 3 Using the Gradient tool, do one of the following: • To create a gradient with one gradient slider, click in the artboard where you want the gradient to start, and drag to where you want the gradient to end. • To create a gradient with a gradient slider for every selected object, click in the artboard where you want the gradient to start, and Alt-drag (Windows) or Option-drag (Mac OS) to where you want the gradient to end.
222 Painting The types of Brushes that support images are Scatter, Art, and Pattern. Drag an image into the Brushes panel (F5), and then select either of the Scatter, Art, or Pattern type, to create a Brush. For more information on creating a brush, see Create or modify brushes. Images in a brush take the shape of the stroke, that is, the images can bend, scale, and stretch with the shape and type of stroke.
223 Chapter 6: Selecting and arranging objects Selecting objects To organize and lay out your artwork, you use tools for selecting, positioning, and stacking objects precisely. You can measure and align objects; group objects so that they are treated as a single unit; and selectively isolate, lock, or hide objects. Selection options and preferences Options for selecting objects Before you can modify an object, you need to distinguish it from the objects around it. You do that by selecting the object.
224 Selecting and arranging objects Selection commands (located in the Select menu) Let you quickly select or deselect all objects, and select objects based on their position relative to other objects. You can select all objects of a specific type or that share specific attributes, and save or load selections. You can also select all objects in the active artboard.
225 Selecting and arranging objects When isolation mode is active, the isolated object appears in full color, while the rest of the artwork appears dimmed. The isolated object’s name and location (sometimes referred to as bread crumbs) appears in the isolation mode border, and the Layers panel displays only the artwork in the isolated sublayer or group. When you exit isolation mode, the other layers and groups reappear in the Layers panel. You can view isolated objects in outline mode or preview mode.
226 Selecting and arranging objects Exit isolation mode ❖ Do one of the following: • Press Esc. • Click the Exit Isolation Mode button one or more times (if you’ve isolated a sublayer, one click takes you back a level, two clicks exits isolation mode). • Click anywhere in the isolation mode bar. • Click the Exit Isolation Mode button in the Control panel. • Using the Selection tool, double-click outside of the isolated group.
227 Selecting and arranging objects Select an object with the Selection, Lasso, or Magic Wand tool Select objects with the Selection tool 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. Tip: When the Selection tool is over an unselected object or group, it changes to .
228 Selecting and arranging objects • To add to the current selection, press Shift and click another object containing the attributes you want to add. All objects with the same attributes that were clicked are also selected. • To subtract from the current selection, press Alt (Windows) or Option (Mac OS) and click the object containing the attributes you want to subtract. All objects with the same attributes are removed from the selection.
229 Selecting and arranging objects ❖ Choose Edit > Preferences > Selection & Anchor Display (Windows) or Illustrator > Preferences > Selection & Anchor Display (Mac OS), and select Object Selection By Path Only. Select groups and objects in a group Once objects are grouped, selecting any part of the group with the Selection tool or the Lasso tool selects the entire group. If you are unsure whether an object is a part of a group, select it with the Selection tool.
230 Selecting and arranging objects • Select the Direct Selection tool path. , and click within the object, or drag a marquee around part or all of the object’s 2 To add or remove an object or group to or from the selection (with any selection tool), hold down Shift and select the object to add or remove. Select objects and groups with the Group Selection tool 1 Select the Group Selection tool , and click an object that’s within the group you want to select. The object is selected.
231 Selecting and arranging objects 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. More Help topics Live Paint groups Keys for working with Live Paint groups Live Paint Selection tool options You access the Live Paint selection tool options by double-clicking the tool in the Tools panel.
232 Selecting and arranging objects Save a selection 1 Select one or more objects, and choose Select > Save Selection. 2 In the Save Selection dialog box, type a name in the Name text box, and click OK. You can reload a saved selection by choosing the selection name from the bottom of the Select menu. You can also delete or rename a selection by choosing Select > Edit Selection.
233 Selecting and arranging objects Expanding is particularly helpful if you are having difficulty printing transparency effects, 3D objects, patterns, gradients, strokes, blends, flares, envelopes, or symbols. 1 Select the object. 2 Choose Object > Expand. If the object has appearance attributes applied to it, the Object > Expand command is dimmed. In this case, choose Object > Expand Appearance and then choose Object > Expand.
234 Selecting and arranging objects Transform panel overview Drawing pixel-aligned paths for web workflows Move or duplicate an object by pasting 1 Select one or more objects. 2 Choose Edit > Cut to move the selection or Edit > Copy to duplicate the selection. 3 To paste an object into another file, open the file. (To paste between layers, see Pasting objects between layers.) 4 Choose one of the following commands: Edit > Paste Pastes the object into the center of the active window.
235 Selecting and arranging objects • To move the object up or down, enter either a negative value (moves down) or positive value (moves up) in the Vertical text box. • To move the object by an angle that’s relative to the object’s x axis, enter either a positive angle (counterclockwise movement) or a negative angle (clockwise movement) in the Distance or Angle text box.
236 Selecting and arranging objects Pasting objects between layers The Paste Remembers Layers option determines where artwork is pasted in the layer hierarchy. By default, Paste Remembers Layers is off, and artwork is pasted into whichever layer is active in the Layers panel. When Paste Remembers Layers is on, artwork is pasted into the layer from which it was copied, regardless of which layer is active in the Layers panel. You set this option by selecting Paste Remembers Layers from the Layers panel menu.
237 Selecting and arranging objects Align or distribute relative to the bounding box of all selected objects 1 Select the objects to align or distribute. 2 In the Align panel or Control panel, select Align To Selection , and then click the button for the type of alignment or distribution you want. Align or distribute relative to one anchor point 1 Click the Direct-Selection tool, hold down Shift, and select the anchor points you want to align or distribute.
238 Selecting and arranging objects 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 each object around its own center point, use the Transform Each command.
239 Selecting and arranging objects Rotate an object by a specific angle You can control the exact angle of rotation with the Rotate command. 1 Select one or more objects. 2 Do one of the following: • To rotate around a different reference point, select the Rotate tool. Then Alt-click (Windows) or Option-click (Mac OS) where you want the reference point to be in the document window. • To rotate around the center point, choose Object > Transform > Rotate, or double-click the Rotate tool.
240 Selecting and arranging objects Rotating the axes is useful if your artwork consists of elements that are rotated to the same angle, such as a logo and text displayed on a 20° angle. Instead of rotating each element you add to the logo, you can simply rotate the axes by 20°. Everything you draw is created along the new axes.
241 Selecting and arranging objects • To reflect a copy of the object, hold down Alt (Windows) or Option (Mac OS) and click to set the second point of the invisible axis. • Adjust the axis of reflection by dragging instead of clicking. Shift-drag to constrain the angle by 45°. As you drag, the invisible axis of reflection rotates around the point you clicked in step 3 and an outline of the object appears reflected. When the outline is in the desired position, release the mouse button.
242 Selecting and arranging objects 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. Think of layers as clear folders that contain artwork. If you reshuffle the folders, you change the stacking order of the items in your artwork.
243 Selecting and arranging objects Selection column Indicates whether items are selected. A color box appears when an item is selected. If an item, such as a layer or group, contains some objects that are selected and other objects that are unselected, a smaller selection color box appears next to the parent item. If all 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.
244 Selecting and arranging objects Note: Displaying thumbnails in the Layers panel may result in slow performance when you are working with complex files. Turn off layer thumbnails to improve performance. Set layer and sublayer options 1 Do one of the following: • Double-click the item name in the Layers panel. • Click the item name and choose Options For - from the Layers panel menu. • Choose New Layer or New Sublayer from the Layers panel menu.
245 Selecting and arranging objects Release items to separate layers The Release To Layers command redistributes all of the items in a layer into individual layers and can build new objects in each layer based on the object’s stacking order. You can use this feature to prepare files for web animation work. 1 In the Layers panel, click the name of a layer or group. 2 Do one of the following: • To release each item to a new layer, choose Release To Layers (Sequence) from the Layers panel menu.
246 Selecting and arranging objects More Help topics Using layers to create animations Locking, hiding, and deleting objects 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.
247 Selecting and arranging objects • To show all objects, choose Object > Show All. All previously hidden objects are shown. Any previously selected objects are selected. • To show all layers and sublayers, select Show All Layers from the Layers panel menu. Hidden objects aren’t displayed by this command, only hidden layers. • To show all objects within a group, select an unlocked and visible object in the group. Hold down Shift+Alt (Windows) or Shift+Option (Mac OS) and choose Object > Show All.
248 Selecting and arranging objects • Drag the item in the Layers panel to the New Layer button at the bottom of the panel. • Start to drag the item to a new position in the Layers panel, and then hold down Alt (Windows) or Option (Mac OS). Release the mouse button when the indicator is in the position where you want to place the duplicated item. If you release the mouse button when the indicator is pointing to a layer or group, the duplicated item is added to the top of the layer or group.
249 Selecting and arranging objects Offset duplicate objects You can create a replica of an object, set off from the selected object by a specified distance, by using the Offset Path command or Offset Path effect. Offsetting objects is useful when you want to create concentric shapes or make many replications of an object with regular distances between each replication. You can offset an object’s path relative to its original path by using the Offset Path effect in the Effect menu.
250 Selecting and arranging objects How objects are stacked determines how they display when they overlap. The stacking order of objects depends on the drawing mode you are using. When a new layer is created in the Draw Normal mode, it is placed right above the active layer and any new objects are drawn at the top of active layer.
251 Chapter 7: Reshaping objects Transforming objects 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. Sometimes you may want to repeat the same transformation several times, especially when you are copying objects.
252 Reshaping objects Transform an object’s patterns When you move, rotate, reflect (flip), scale, or shear an object that is filled with a pattern, you can transform just the object, just the pattern, or both the object and pattern. Once you transform an object’s fill pattern, all patterns that you subsequently apply to that object are transformed the same way.
253 Reshaping objects Scaling, shearing, and distortingobjects 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.
254 Reshaping objects Objects scale relative to the opposite handle of the bounding box. 4 Do any of the following to control the scaling behavior: • To maintain the object’s proportions, hold down Shift as you drag. • To scale relative to the object’s center point, hold down Alt (Windows) or Option (Mac OS) as you drag. 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.
255 Reshaping objects Shear objects Shearing an object slants, or skews, the object along the horizontal or vertical axis, or a specified angle that’s relative to a specified axis. Objects shear relative to a reference point which varies depending on the shearing method you choose and can be changed for most shearing methods. You can lock one dimension of an object as you shear it, and you can shear one object or multiple objects simultaneously. Shearing is useful for creating cast shadows.
256 Reshaping objects Shear objects with the Free Transform tool 1 Select one or more objects. 2 Select the Free Transform tool . 3 Do one of the following: • To shear along the object’s vertical axis, start dragging the middle-left or middle-right bounding-box handle, and then hold down Ctrl+Alt (Windows) or Option+Command (Mac OS) as you drag up or down. You can also hold down Shift to constrain the object to its original width.
257 Reshaping objects Intensity Specifies the rate of change for the distortion. Higher values equal faster changes. Use Pressure Pen Uses the input from a tablet or pen instead of the Intensity value. If you don’t have a pressure- sensitive tablet attached, this option is dimmed. Complexity (Scallop, Crystallize, and Wrinkle tools) Specifies how closely the results of the particular brush are spaced on the object’s outline. This is closely tied with the Detail value.
258 Reshaping objects The Layers panel lists envelopes as . Once you apply an envelope, you can continue to edit the original objects. You can also edit, delete, or expand an envelope at any time. You can edit an envelope shape or the enveloped object, but not both at the same time. Distort objects using an envelope 1 Select one or more objects.
259 Reshaping objects Reset an envelope 1 Select the envelope. 2 Do one of the following: • To reset or switch to a preset warp style, choose a new warp style and set options in the Control panel. If desired, to open the dialog box and set more options. click the Envelope Options button • To reset or switch to a mesh grid envelope, choose Object > Envelope Distort > Reset With Mesh. Specify the number of rows and columns for the mesh grid. Select Maintain Envelope Shape to keep the warp shape intact.
260 Reshaping objects 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. Unlike compound shapes, you can’t edit the interactions between objects when you use a Pathfinder effect.
261 Reshaping objects A All components in Add mode B Subtract mode applied to squares C Intersect mode applied to squares D Exclude mode applied to squares Pathfinder options You can set Pathfinder Options from the Pathfinder panel menu or by double-clicking a Pathfinder effect in the Appearance panel. Precision Affects how precisely the Pathfinder effects calculate an object’s path.
262 Reshaping objects Apply a Pathfinder effect using the Effects menu 1 Do one of the following: • Group together the objects you want to use, and select the group. • Move the objects you want to use into a separate layer, and target the layer. 2 Choose Effect > Pathfinder and choose a Pathfinder effect. To quickly apply the same Pathfinder effect again, choose Effect > Apply [effect]. Apply a Pathfinder effect using the Pathfinder panel 1 Select the objects to which you want to apply the effect.
263 Reshaping objects Hard Mix Combines colors by choosing the highest value of each of the color components. For example, if Color 1 is 20% cyan, 66% magenta, 40% yellow, and 0% black; and Color 2 is 40% cyan, 20% magenta, 30% yellow, and 10% black, the resulting hard color is 40% cyan, 66% magenta, 40% yellow, and 10% black. Soft Mix Makes the underlying colors visible through the overlapping artwork, and then divides the image into its component faces.
264 Reshaping objects 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. Any open paths you select are automatically closed. 2 Do one of the following: • In the Pathfinder panel, Alt-click (Windows) or Option-click (Mac OS) a Shape Modes button. Each component of the compound shape is assigned the shape mode you select.
265 Reshaping objects • A compound shape painted with a stroke using a join other than round, or with a weight in points that is not an integer, is rasterized when exported to the PSD file format. Compound paths About compound paths A compound path contains two or more paths that are painted so that holes appear where paths overlap. When you define objects as a compound path, all objects in the compound path take on the paint and style attributes of the backmost object in the stacking order.
266 Reshaping objects A Four circular paths B Circular paths selected, converted into compound path C Reverse Path Direction applied to innermost path Change the fill rule for a compound path 1 Select the compound path using the Selection tool or Layers panel. 2 In the Attributes panel, click the Use Non-Zero Winding Fill Rule button or the Use Even-Odd Fill Rule button . Change a hole in a compound path to a filled area 1 Make sure that the compound path uses the nonzero winding fill rule.
267 Reshaping objects with the Knife tool. Scissors tool Splits a path, graphics frame, or empty text frame at an anchor point or along a segment. Click and hold the Eraser tool to see and choose the Scissors tool. See Split a path. Split Into Grid command Lets you divide one or more objects into multiple rectangular objects arranged in rows and columns. You can precisely change the height, width, and gutter size between rows and columns, and quickly create guides for laying out artwork.
268 Reshaping objects 4 (Optional) Do any of the following: • To set the size of each row and column, enter values for Height and Width. • To set the amount of space that separates rows from one another and columns from one another, enter values for Gutter. • To change the dimensions of the entire grid of objects, enter values for Total. • To add guides along the row and column edges, select Add Guides. 5 Click OK.
269 Reshaping objects • Regardless of its previous attributes, a clipping mask changes to an object with no fill or stroke. Tip: To create a semitransparent mask, use the Transparency panel to create an opacity mask. Hide parts of objects with a clipping mask 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 above the objects you want to mask in the stacking order.
270 Reshaping objects Note: To select a clipped path by clicking it, you must click the portion of it that appears inside the mask. 2 Edit the path. Add or remove an object from masked artwork ❖ In the Layers panel, drag the object into or out of the group or layer that contains the clipping path. Release objects from a clipping mask ❖ Do one of the following: • Select the group that contains the clipping mask, and choose Object > Clipping Mask > Release.
271 Reshaping objects Gap Detection Set the gap length using the Gap Length drop-down list. The values available are Small (3 points), Medium (6 points), and Large (12 points). Select the Custom check box if you want to provide an exact gap length. When you select the gap length, Illustrator finds the gaps only close to the specified gap length value. Make sure that the gap length value is close (approximately) to the actual gap length of the art.
272 Reshaping objects Pick Color From You can choose to color objects using the color swatches or the colors used in existing artwork. Use the Pick Color From drop-down list to select the Color Swatches or Artwork option. If you select the Color Swatches option, you get the Cursor Swatch Preview option. You can select the Cursor Swatch Preview check box to preview and select colors. A Live Paint style cursor swatch is provided when you select this option.
273 Reshaping objects A Corner widgets (four per rectangle) B Dragging a Corner widget causes the corner radii to change C Scale/Rotate widgets (eight per rectangle) 2 The Transform panel is displayed (or, comes into focus if already open). If the Transform panel does not open: • Press Shift + F8, or, • Click Windows menu > Transform.
274 Reshaping objects • Use the Corner type drop-downs in the Transform panel, to change the Corner type of any of the corners of the rectangle. • Use the stepper control or type in an absolute value in the Transform panel, for each of the corners of the rectangle. Note: Irrespective of which tool is selected, when rectangles are selected, editing properties in the Transform panel will modify the selected artwork. 5 In the Rectangle Properties area, use the Angle field to rotate the selected rectangle(s).
275 Reshaping objects Select menu option A new menu item, Shape, has been added to the Select > Same menu. When you select Select > Same > Shape option, all the available Live Rectangles and Rounded Rectangles are selected. Maximum radius When you drag the corners of a Live Rectangle or Rounded Rectangle to the maximum possible limit, the preview of the rounded corners is displayed in red.
276 Reshaping objects CSS Export honors individual radii information of a rounded rectangle with corners having different radii. Working with Live Corners Live Corners You can select one or more corner anchor points in a simple path, or multiple anchor points across several paths in your artwork. When selected, a Live Corners widget appears next to each corner point. Dragging a widget causes the corner point to change shape, into one of three available corner types.
277 Reshaping objects If you prefer not to see the Live Corners widget when you select the Direct Selection Tool, you can turn it off from View > Hide Corner Widget. The Corners dialog The Corners dialog lets you manipulate corner settings. In the Corners dialog you can set the corner style, the radius of the corner, and the type of rounding. To access the corner settings: • Double-click the Live Corners widget, or, • Select the corner, and click the Corners link in the Control Panel.
278 Reshaping objects A Original corner B Direction in which the mouse is being dragged C Preview of the round corner D Live Corners widget E Radius of the corner applied F Cursor indicating corner style being applied Change the corner style To change the corner style, do one of the following: • While dragging a Live Corners widget, click the Up or Down arrow keys. The cursor is changed to display the current Corner style. • In the Control Panel, click the Corners link to open the Corners pop-up panel.
279 Reshaping objects A A red path indicates that the maximum radius for the given corner has been achieved B Direction in which the Live Corner widget is being pulled C Live Corner Widget Live Corners widget preferences Hide Corner Widget • If you prefer not to see the Live Corners widget when you select the Direct Selection Tool, you can turn it off from View > Hide Corner Widget.
280 Reshaping objects The following rules apply to blended objects and their associated colors: • You cannot blend between mesh objects. • If you blend between one object painted with a process color and another object painted with a spot color, the blended shapes are painted with a blended process color. If you blend between two different spot colors, process colors are used to paint the intermediate steps.
281 Reshaping objects • To blend open paths, select an endpoint on each path. 3 When you are finished adding objects to the blend, click the Blend tool again. By default, Illustrator calculates the optimum number of steps to create a smooth color transition. To control the number of steps or distance between steps, set blending options. (See Blend options.) Create a blend with the Make Blend command 1 Select the objects you want to blend. 2 Choose Object > Blend > Make.
282 Reshaping objects 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.
283 Reshaping objects More Help topics Reshaping objects Stacking objects Enhanced reshape workflows with touch support Reshape segment workflows & touch support The reshape path segment workflows have been enhanced to support reshaping with touch input on touch-based devices. In earlier releases of Illustrator, curved path segments could be reshaped using the Direct Selection tool, but their handles were always constrained to their original angles. Now, the reshaping of segments is unconstrained.
284 Reshaping objects A Original artwork B Reshaping a segment with the Anchor Point tool C Modified shape 3 To create a copy of the path segment, press Alt / Option while performing Step 2. 4 To create a semi-circular segment hold the Shift key while reshaping a segment. Holding the Shift modifier constrains the handles to a perpendicular direction, and ensures that the handles are of equal length. Direct Selection Tool Using the Direct Selection tool on a straight segment moves the segment.
285 Reshaping objects Free Distort Lets you change the shape of a vector object by dragging any of four corner points. Pucker & Bloat Pulls a vector object’s anchor points outward while curving the segments inward (Pucker) or inward while curving the segments outward (Bloat). Both options pull the anchor points relative to the object’s center point. Roughen Transforms a vector object’s path segments into a jagged array of peaks and valleys of various sizes.
286 Reshaping objects 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. You can also map artwork onto each surface of a 3D object. There are two ways to create a 3D object: by extruding or revolving. In addition, you can also rotate a 2D or 3D object in three dimensions.
287 Reshaping objects 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. Because the revolve axis is vertically fixed, the open or closed path that you revolve typically needs to depict half of the desired 3D object’s profile in a vertical and front-facing position; you can then rotate the 3D object’s position in the effect’s dialog box. 1 Select the object.
288 Reshaping objects Set 3D rotation position options ❖ Do any of the following: • Choose a preset position from the Position menu. • For unconstrained rotation, drag a track cube face. The front of the object is represented by the track cube’s blue face, the object’s top and bottom faces are light gray, the sides are medium gray, and the back face is dark gray. • To constrain the rotation along a global axis, hold down Shift while dragging horizontally (global y axis) or vertically (global x axis).
289 Reshaping objects Revolve options Angle Sets the number of degrees to revolve the path, between 0 and 360. Cap Specifies whether the object appears solid (Revolve Cap On ) or hollow (Revolve Cap Off ). Offset Adds distance between the revolve axis and the path, to create a ring-shaped object, for instance. You can enter a value between 0 and 1000. From Sets the axis around which the object revolves, either the Left Edge or Right Edge.
290 Reshaping objects note: If your object has transparency and you want the hidden backfaces to display through the transparent front faces, apply the Object > Group command to the object before you apply the 3D effect. Preserve Spot Color (Extrude & Bevel effect, Revolve effect, and Rotate effect) Lets you preserve spot colors in the object. Spot colors can’t be preserved if you chose Custom for the Shading Color option.
291 Reshaping objects A Selected light in front B Move selected light to back or front button C New light button D Delete light button 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.
292 Reshaping objects Map artwork to a 3D object Every 3D object is composed of multiple surfaces. For example, an extruded square becomes a cube that is made of six surfaces: the front and back faces, and the four side faces. You can map 2D artwork to each surface on a 3D object. For example, you might want to map a label or text onto a bottle-shaped object or simply add different textures to each side of an object.
293 Reshaping objects • To make the mapped artwork fit to the boundaries of the selected surface, click Scale To Fit. • To remove artwork from a single surface, select the surface using the Surface options, and then either choose None from the Symbol menu or click Clear. • To remove all maps from all of the 3D object’s surfaces, click Clear All. • To shade and apply the object’s lighting to the mapped artwork, select Shade Artwork.
294 Reshaping objects Using touch to modify shapes (Free Transform tool) Move, scale, rotate, shear, or distort an object, using a mouse or touch-based device (for example, a touchscreen device). 1 Select an object and pick the Free Transform tool. 2 In the Free Transform tool widget, choose an appropriate action to perform on the selected object. Use the control handles to move, scale, rotate, shear, or distort (perspective or free).
295 Reshaping objects • You can also double-click any of the eight control handles to set it as a reference point. The rotate action will now occur relative to the new reference point. • Double-click the reference point to reset its position. A Reference Point B When moved, the image rotates relative to the new location of the Reference Point • Mouseover on the control handles shows permitted icons, and displays a reference point for the object.
296 Reshaping objects Additional anchor points are introduced where the shapes break up. 6 To merge paths, drag along the region and release the mouse, the two regions get merged to form a new shape. The art style that the new shape inherits, depends on the following rules: • The art style of the object from where the mouse drag was initiated is applied to the merging shapes. • If no art style is available on mouse down, then the art style available on mouse release is applied to the merging shapes.
297 Reshaping objects Last updated 10/3/2014
298 Chapter 8: Importing, exporting, and saving Importing artwork files 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. Tight integration between Adobe products and support for a wide variety of file formats, makes it easy to move art from one application to another by importing, exporting, or copying and pasting.
299 Importing, exporting, and saving 2 Choose File > Place, and select the file you want to place. 3 Select Link to create a link to the file, or deselect Link to embed the artwork in the Illustrator document. 4 Click Place. 5 If applicable, do one of the following: • If you place a PDF file with multiple pages, you can choose which page you want to place and how to crop the artwork. • If you embed an Adobe® Photoshop® file, you can choose how to convert layers.
300 Importing, exporting, and saving Embedded Embedding the contents of a linked file suspends management operations for that link. Work with the Links panel • To display the panel, choose Window > Links. Each linked file and embedded file is identified by name. • To select and view a linked graphic, select a link and then click the Go To Link button in the Links panel menu. The display is centered around the selected graphic.
301 Importing, exporting, and saving Restore a single missing link or replace link with a different source file You can restore or replace a missing link—one that shows the missing-link icon file with a different source file. in the Links panel—or any linked 1 Select the linked artwork on the page, or select a link name in the Links panel. 2 Do one of the following: • In the Links panel, click the Relink button , or choose Relink from the panel menu.
302 Importing, exporting, and saving Edit original artwork The Edit Original command lets you open most graphics in the application in which you created them so that you can modify them as necessary. Once you save the original file, the document in which you linked it is updated with the new version. 1 Do any of the following: • In the Links panel, select the link and click the Edit Original button from the panel menu. .
303 Importing, exporting, and saving Note: In Adobe Illustrator, you can create bitmap effects in your artwork using effects and graphic styles. Image resolution guidelines for final output Bitmap images contain a fixed number of pixels, usually measured in pixels per inch (ppi). An image with a high resolution contains more, and therefore smaller, pixels than an image of the same printed dimensions with a low resolution.
304 Importing, exporting, and saving 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. • Use the Place command with the Link option selected to import a PDF file (or one page of the PDF if it is a multipage document) as a single image.
305 Importing, exporting, and saving Illustrator’s ability to preserve non-native art is useful in many situations. For example, Illustrator maintains the spot color information in linked PDF files when you output color separations. By default, non-native art is labeled in the Layers and Appearance panels. You can select, move, save, and perform basic transformations (such as scaling, rotating, or skewing) on non-native art. However, you cannot select and edit its individual components.
306 Importing, exporting, and saving • Occasionally you may encounter a warning when opening an Illustrator document containing embedded EPS images. If the application cannot find the original EPS image, you will be prompted to extract the EPS image. Select the Extract option in the dialog box; the image will be extracted into the same directory as the current document. Although the embedded file does not preview in the document, the file will now print correctly.
307 Importing, exporting, and saving Importing artwork from Photoshop 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. This means that you can transfer files between Photoshop and Illustrator without losing the ability to edit the artwork.
308 Importing, exporting, and saving note: The Convert Photoshop Layers To Objects And Make Text Editable Where Possible option is not available when you link to a Photoshop file. Flatten Photoshop Layers To A Single Image And Preserve Text Appearance Imports the file as a single bitmap image. The converted file retains no individual objects, except for the document clipping path (if one exists). Opacity is retained as part of the main image, but is not editable.
309 Importing, exporting, and saving 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. These formats are called native formats because they can preserve all Illustrator data, including multiple artboards.
310 Importing, exporting, and saving If artwork needs to be shifted to fit it onto a single artboard, a warning appears to let you know. If you don’t select this option, the artboards are combined into a single document and are converted to object guides and (in Illustrator CS3) crop areas. The artboard used for the saved file is based on the size of the default document startup profile.
311 Importing, exporting, and saving If you choose a CS format, specify how to save overlapping colors that are set to overprint, and select a preset (or set of options) for flattening transparency. Click Custom to customize the flattener settings. If you choose a Legacy format earlier than 8.0, select Preserve Paths to discard transparency effects and reset transparent artwork to 100% opacity and Normal blending mode.
312 Importing, exporting, and saving For a video on creating mobile content in Illustrator, see www.adobe.com/go/vid0207. 1 If the artwork contains any SVG effects, select each item to which an SVG effect has been applied, and move the effect to the bottom of the Appearance panel (just above the Opacity entry). If other effects follow an SVG effect, the SVG output will consist of a raster object. In addition, if the artwork contains multiple artboards, select the artboard you want to export.
313 Importing, exporting, and saving Preserve Illustrator Editing Capabilities Preserves Illustrator-specific data by embedding an AI file in the SVG file (resulting in a larger file size). Select this option if you plan to reopen and edit the SVG file in Illustrator. Note that if you make manual changes to the SVG data, the changes are not reflected when you reopen the file. This is because Illustrator reads the AI portion of the file, not the SVG portion.
314 Importing, exporting, and saving Save artwork for Microsoft Office The Save For Microsoft Office command lets you create a PNG file that you can use in Microsoft Office applications. 1 Choose File > Save For Microsoft Office. 2 In the Save For Office dialog box, select a location for the file, enter a filename, and click Save. If you want to customize PNG settings, such as for resolution, transparency, and background color, use the Export command instead of the Save For Microsoft Office command.
315 Importing, exporting, and saving You can gather the files you’ve used, including fonts (except Chinese, Korean, and Japanese) and linked graphics, for easy handoff. When you package a file, you create a folder that contains the Illustrator document, any necessary fonts, linked graphics, and a package report. This report, which is saved as a text file, includes the information about the packaged files. 1 Choose File > Package.
316 Importing, exporting, and saving Unembed images This feature is available in Adobe Illustrator CS6, CC, and later. To join Adobe Creative Cloud, see Adobe Creative Cloud. When you embed images in an Illustrator file, the image file is stored within the document. You can extract the embedded images by unembedding them and replace the embedded images with the corresponding extracted PSD or TIFF files. You can also use or edit the extracted files outside Illustrator.
317 Importing, exporting, and saving Upload new artwork to Behance 1 Select the artboard that you would like to show or receive feedback for, from Behance. Note: Artboards with a width 10 times greater than the height (or vice versa) will not be uploaded. 2 Click the Behance icon or click File > Share on Behance. 3 In the Share on Behance (Enter Information) dialog, select New Work, and fill in the rest of the information: • Tags. Click the Tags button to see existing tags, or type new tags.
318 Importing, exporting, and saving 5 On the final screen, you can click the link or the button to navigate to the Behance website and view the artwork you have uploaded. Upload a new version (revision) of artwork to Behance 1 Select the artboard that you would like to show or receive feedback for, from Behance. 2 Click the Behance icon or click File > Share on Behance. 3 In the Share on Behance (Enter Information) dialog, select Revision.
319 Importing, exporting, and saving 6 On the final screen you can click the link or the button to navigate to the Behance website and view the artwork you have uploaded. Creating Adobe PDF files 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.
320 Importing, exporting, and saving When you save in Adobe PDF, you can choose to create a PDF/X-compliant file. PDF/X (Portable Document Format Exchange) is a subset of Adobe PDF that eliminates many of the color, font, and trapping variables that lead to printing problems. PDF/X may be used wherever PDFs are exchanged as digital masters for print production—whether at the creation or output stage of the workflow, as long as the applications and output devices support PDF/X.
321 Importing, exporting, and saving 3 Do one of the following: • To save all of the artboards to one PDF, select All. • To save a subset of the artboards to one PDF, select Range, and type the range of artboards. 4 Click Save, and set additional PDF options in the Save Adobe PDF dialog box. 5 Click Save PDF. Create a layered Adobe PDF Adobe InDesign and Adobe Acrobat both provide features for changing the visibility of layers in an Adobe PDF file.
322 Importing, exporting, and saving A few of the presets listed below are not available until you move them—as needed—from the Extras folder (where they are installed by default) to the Settings folder. Typically, the Extras and Settings folders are found in (Windows Vista and Windows 7) ProgramData\Adobe\AdobePDF, (Windows XP) Documents and Settings\All Users\Application Data\Adobe\Adobe PDF, or (Mac OS) Library/Application Support/Adobe PDF.
323 Importing, exporting, and saving These PDF files can be opened in Acrobat 5.0 and Acrobat Reader 5.0 and later. Note: Before creating an Adobe PDF file to send to a commercial printer or print service provider, find out what the output resolution and other settings should be, or ask for a .joboptions file with the recommended settings. You might need to customize the Adobe PDF settings for a particular provider and then provide a .joboptions file of your own.
324 Importing, exporting, and saving Load PDF presets Illustrator comes with supplementary PDF presets (.joboptions) files. You may also receive custom PDF presets files from service providers and colleagues. ❖ To load PDF presets into all of your Creative Suite applications, do one of the following: • Double-click the .joboptions file. • Choose Edit > Adobe PDF Presets. Click Import, and select the .joboptions file you want to load. Adobe PDF options Adobe PDF options are divided into categories.
325 Importing, exporting, and saving PDF compatibility levels When you create PDFs, you need to decide which PDF version to use. You can change the PDF version by switching to a different preset or choosing a compatibility option when you save as PDF or edit a PDF preset. Generally speaking, unless there’s a specific need for backward compatibility, you should use the most recent version (in this case version 1.7). The latest version will include all the newest features and functionality.
326 Importing, exporting, and saving Embed Page Thumbnails Embeds a thumbnail preview for each page in the PDF, increasing the file size. Deselect this setting when users of Acrobat 5.0 and later will view and print the PDF; these versions generate thumbnails dynamically each time you click the Pages panel of a PDF. Optimize For Fast Web View Optimizes the PDF file for faster viewing in a web browser. View PDF After Saving Opens the newly-created PDF file in the default PDF viewing application.
327 Importing, exporting, and saving JPEG2000 Is the new international standard for the compression and packaging of image data. Like JPEG compression, JPEG2000 compression is suitable for grayscale or color images. It also provides additional advantages, such as progressive display. CCITT and Run Length compression Are only available for monochrome bitmap images.
328 Importing, exporting, and saving Color management and PDF/X options for PDF You can set the following options in the Output section of the Save Adobe PDF dialog box. Interactions between Output options change depending on whether Color Management is on or off and which PDF standard is selected. Color Conversion Specifies how to represent color information in the Adobe PDF file. When you convert color objects to RGB or CMYK, also select a destination profile from the pop-up menu.
329 Importing, exporting, and saving Overprints Specifies how to save overlapping colors that are set to overprint. You can choose to preserve the overprinting or discard the overprinting. If Compatibility (at the top of the dialog box) is set to Acrobat 4 (PDF 1.3), you can also choose to simulate overprinting by flattening the artwork. Preset If Compatibility (at the top of the dialog box) is set to Acrobat 4 (PDF 1.
330 Importing, exporting, and saving 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. This option is available only if the Compatibility option is set to Acrobat 5 (PDF 1.4) or later. High Resolution Lets users print at any resolution, directing high-quality vector output to PostScript and other printers that support advanced high-quality printing features.
331 Importing, exporting, and saving For a video on exporting content from Illustrator, including an overview on different formats and when you should use them, see www.adobe.com/go/vid0062. More Help topics About saving artwork Optimize an image for the web File formats for exporting artwork Note: You can export multiple artboards only to the following formats: SWF, JPEG, PSD, PNG, and TIFF.
332 Importing, exporting, and saving PNG (Portable Network Graphics) Used for lossless compression and for display of images on the web. Unlike GIF, PNG supports 24-bit images and produces background transparency without jagged edges; however, some web browsers do not support PNG images. PNG preserves 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.
333 Importing, exporting, and saving Flash export options When you export artwork to SWF format, you can set the following Basic and Advanced options. You can export multiple artboards to SWF format. For a video on exporting SWF files from Illustrator, see www.adobe.com/go/vid0214. (For a video on importing Illustrator files into Flash, see www.adobe.com/go/vid0197, and for a video on using Flash and Illustrator together, see www.adobe.com/go/lrvid4099_xp.
334 Importing, exporting, and saving Export Text As Outlines Converts type to vector paths. Use this option to preserve the visual appearance of type in all Flash players. If you prefer to have maximum text editing ability, deselect this option. (For a video on using text effectively between Flash and Illustrator, see www.adobe.com/go/vid0199. Ignore Kerning Information For Text Exports text without the kerning values. Include Metadata Exports the metadata associated with the file.
335 Importing, exporting, and saving Export Static Layers Specifies one or more layers or sublayers to be used as static content in all the exported SWF Frames. Content from the selected layers or sublayers will be present as background art in every exported SWF frame. (This option is only available for AI Layers To SWF Frames.
336 Importing, exporting, and saving Resolution Determines the resolution of the exported file. Flat Image Merges all layers and exports the Illustrator artwork as a rasterized image. Choosing this option preserves the visual appearance of the artwork. Write Layers Exports groups, compound shapes, nested layers, and slices as separate, editable Photoshop layers. Nested layers that are more than five levels deep are merged into a single Photoshop layer.
337 Importing, exporting, and saving More Help topics Image resolution guidelines for final output Optimize an image for the web TIFF 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. To export each artboard as a separate TIFF file, select Use Artboards in the Export dialog box. To export only a range of artboards, specify the range.
338 Importing, exporting, and saving Document Info panel overview You use the Document Info panel to see listings of general file information and object characteristics, as well as the number and names of graphic styles, custom colors, patterns, gradients, fonts, and placed art. To display the panel, choose Window > Document Info.
339 Importing, exporting, and saving To export unused styles: 1 When you want to save a file in SVG format, click File > Save As. 2 In the Save as type drop down, select SVG, type a file name, and then click Save. 3 In the SVG Options dialog, click More Options, in the Advanced Options area, select the Include Unused Graphic Styles option, and then click OK. Extract CSS | Illustrator CC You can create the design for an HTML page in Illustrator.
340 Importing, exporting, and saving A Warning, if some styles could not be converted to CSS code B CSS Export Options dialog box C Export Selected CSS to file D Copy Selected Style to the clipboard E Generate CSS F Flyout menu G Styles used in the selected objects H CSS code 2 In an open Illustrator document, do one of the following: • Select one object. The CSS code for the object is displayed in the CSS Properties panel.
341 Importing, exporting, and saving Note: To modify the content of the CSS code that is generated, in the CSS Properties panel, click Export Options, and then make the appropriate selections.
342 Importing, exporting, and saving Rectangle with a gradient applied (all browsers) .GRADIENT_BOX { background : -moz-linear-gradient(0% 50% 0deg,rgba(255, 242, 0, 1) 0%,rgba(254, 236, 1, 1) 10.31%,rgba(253, 218, 4, 1) 24.34%,rgba(251, 190, 9, 1) 40.51%,rgba(247, 150, 15, 1) 58.28%,rgba(243, 99, 24, 1) 77.37%,rgba(238, 37, 34, 1) 97.27%,rgba(237, 28, 36, 1) 100%); background : -webkit-linear-gradient(0deg, rgba(255, 242, 0, 1) 0%, rgba(254, 236, 1, 1) 10.31%, rgba(253, 218, 4, 1) 24.
343 Importing, exporting, and saving Multiple objects .NormalCharacterStyle { font-family : Myriad Pro; font-size : 12px; } .st0 { border-style : Solid; border-color : #FFFFFF; border-color : rgba(255, 255, 255, 1); border-width : 0px; } .GRADIENT_BOX { background : -webkit-linear-gradient(0deg, rgba(255, 242, 0, 1) 0%, rgba(254, 236, 1, 1) 10.31%, rgba(253, 218, 4, 1) 24.34%, rgba(251, 190, 9, 1) 40.51%, rgba(247, 150, 15, 1) 58.28%, rgba(243, 99, 24, 1) 77.37%, rgba(238, 37, 34, 1) 97.
344 Importing, exporting, and saving A Show Link Info B Links actions C Link Info area D Previous/Next Navigation Icons Use the icons to Relink, Go to Link, Update Link, and Edit Original. As before, these options are also available from the panel menu. The Links Information panel displays the following information: Name Displays the name of the linked file Format Displays the file type of the linked file and type of linking: linked or embedded.
345 Importing, exporting, and saving You can place one or more files in a single action. Use this feature to select multiple images and then place the images one by one, in an Illustrator document. Place multiple files at a time 1 Open an Illustrator file that you want to place external files in, and then click File > Place. 2 In the Place dialog, select multiple files using the Ctrl (Cmd) or Shift (Opt) keys.
346 Importing, exporting, and saving 6 To quickly view and modify the import options of an asset: • Press the Left or Right Arrow keys to preview the loaded assets. • When you see the preview of the asset whose import options you would like to modify, press Shift and click the mouse. • Modify the necessary options, and then click OK. 7 To discard an asset that is loaded and ready to be placed, use the arrow keys to navigate to the asset, and then press Esc.
347 Chapter 9: Type Importing and exporting text Importing text You can import text into your artwork from a file that was created in another application.
348 Type Export text to a text file 1 Using a type tool, select the text you want to export. 2 Choose File > Export. 3 In the Export dialog box, select a location for the file and enter a filename. 4 Choose Text Format (TXT) as the file format. 5 Enter the name of the new text file in the name box, and click Save (Windows) or Export (Mac OS). 6 Choose a platform and encoding method, and click Export. Tag text for export to Flash You can export text from Illustrator to Adobe Flash in a variety of ways.
349 Type Readability Optimizes text for readability. Custom Lets you specify custom values for Thickness and Sharpness of text. Use Device Fonts Converts glyphs to device fonts. Anti-aliasing is not available for device fonts. _sans, _serif, and _typewriter Map western indirect fonts across platforms to ensure a similar appearance. Gothic, Tohaba (Gothic Mono), and Mincho Map Japanese indirect fonts across platforms to ensure a similar appearance.
350 Type 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. Each line of text is independent—the line expands or shrinks as you edit it, but doesn’t wrap to the next line. Entering text this way is useful for adding a few words to your artwork. 1 Select the Type tool or the Vertical Type tool . The pointer changes to an I-beam within a dotted box.
351 Type You can resize the text area or extend the path to display the overflow text. You can also thread the text into another object. For a video on creating point and area type, see www.adobe.com/go/vid0045. For more information about working with type in Illustrator, see the Working with Type white paper at www.adobe.com/go/learn_ai_type.
352 Type Change the margin around a text area When working with an area type object, you can control the margin between the text and the bounding path. This margin is referred to as the inset spacing. 1 Select an area type object. 2 Choose Type > Area Type Options. 3 Specify a value for Inset Spacing, and click OK. Raise or lower the first baseline in a text area When working with an area type object, you can control the alignment of the first line of text with the top of the object.
353 Type More Help topics Shift the baseline Display Asian type options Create rows and columns of text 1 Select an area type object. 2 Choose Type > Area Type Options. 3 In the Rows and Columns sections of the dialog box, set the following options: Number Specifies the number of rows and columns you want the object to contain. Span Specifies the height of individual rows and the width of individual columns. Fixed Determines what happens to the span of rows and columns if you resize the type area.
354 Type You can break threads and have the text flow into either the first or the next object, or you can remove all threads and have the text stay in place. Note: When working with threaded text, it can be useful to see the threads. To view threads, choose View > Show Text Threads and then select a linked object. Thread text 1 Use the Selection tool to select an area type object. 2 Click the in port or the out port of the selected type object. The pointer changes to the loaded text icon .
355 Type A Wrap objects B Wrapped text More Help topics Stacking objects Creating type on a path 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. Note: 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.
356 Type Align type to object To align text according to the bounding box of the actual glyphs instead of the font metrics, do the following: 1 Apply the Outline Object live effect to the text object using Effect > Path > Outline Object. 2 Set the Align panel to use preview bounds by selecting the Use Preview Bounds option from the Align panel menu (flyout). After applying these settings, you get exactly the same alignment as outlined text, while keeping the text live.
357 Type You can resize the text area or extend the path to display the overflow text. You can also thread the text into another object. For a video on creating type on a path, see www.adobe.com/go/vid0046. For more information about working with type in Illustrator, see the Working with Type white paper at www.adobe.com/go/learn_ai_type. Move or flip text along a path 1 Select the path type object.
358 Type • Choose Type > Type On A Path > Type On A Path Options. Then select an option from the Effect menu, and click OK.note: Applying the Gravity effect to text on a perfectly circular path creates a result that looks like the default Rainbow effect. It performs as expected on paths that are oval, square, rectangular or otherwise irregularly shaped. Path type effects 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.
359 Type 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. • To transform just the bounding path, but not the type it contains, select the type object and drag with the Selection tool.
360 Type Spelling and language dictionaries 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 When Illustrator displays misspelled words or other possible errors, do one of the following: • Click Ignore or Ignore All to continue spell-checking without changing a certain word.
361 Type Apply a language to all text 1 Choose Edit > Preferences > Hyphenation (Windows) or Illustrator > Preferences > Hyphenation (Mac OS). 2 Select a dictionary from the Default Language pop-up menu, and click OK. 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.
362 Type For CJK-language fonts, the font style name is often determined by the variation in thickness (also called weight). For example, the Japanese font Kozuka-Mincho Std includes six weights: Extra Light, Light, Regular, Medium, Bold and Heavy. The font style name which is displayed depends on the font manufacturer. Each font style is a stand-alone file. If the font style file has not been installed, that font style cannot be selected from Font Style.
363 Type • 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. 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.
364 Type 4 Do one of the following: • Click Change to change just one occurrence of the selected font. • Click Change All to change all occurrences of the selected font. When there are no more occurrences of a font in your document, its name is removed from the Fonts in Document list. 5 Repeat steps 2 through 4 to find and replace a different font. 6 Click Done to close the dialog box. Note: When you replace a font using the Find Font command, all other type attributes remain the same.
365 Type A Sync-in-progress icon B Missing font icon C Sync checkbox D Sync Fonts button E Flyout menu F Status Enhancements include: Sync-in-progress icon Indicates a missing font being synced from the Typekit library. Missing font icon Indicates a missing font. Sync checkbox Select the checkbox to sync the missing font. Sync Fonts button. Click the button to sync missing fonts, from the Typekit website to the local computer.
366 Type 2 The Missing Fonts dialog displays a list of missing fonts. A spinning wheel against the font name indicates that a check for availability in the Typekit library is in progress. • A selected checkbox against the font name indicates that the font is available in the Typekit library. To sync these fonts, click Sync Typekit Fonts. • An empty checkbox against the font name indicates that the font is not available on the Typekit website. To find and substitute fonts, click Find Fonts.
367 Type 4 In the Missing Fonts dialog, click Close. When the missing fonts have been synced to your computer, the Creative Cloud app displays a notification indicating the number of the fonts (or the name of a single font) downloaded. The document is updated, and Text elements are rendered in the correct fonts.
368 Type Text enhancements Text-related layout and typing features have been enhanced in the 2014 release of Illustrator CC: • Additional hidden characters (Type > Show Hidden Characters) have been added to depict typographic notations (see table below) • The end-of-paragraph notation and the end-of-line notation are now different glyphs. • The font used to display hidden characters is changed to Adobe Sans MM.
369 Type Filtering Typekit fonts 1 To view the list of fonts available to Illustrator, do one of the following: • Browse to Character panel (Ctrl + T) > Font Family drop-down • Browse to Control panel > Font Family drop-down 2 In the Font Family drop-down, click the Typekit font filter icon. A Typekit font filter B Typekit website C Typekit font indicator icon In an unfiltered view, Typekit fonts are indicated with a Typekit font icon.
370 Type For more information, read the article on finding missing fonts using the Typekit workflow . Arabic and Hebrew type New and improved features for working in Arabic and Hebrew are available in the Middle East and North African edition of this software. Adobe World-Ready Composers Adobe World-Ready composers enable you to create content in middle-eastern languages. You can type in, and mix between, Arabic, Hebrew, English, French, German, Russian, and other Latin languages.
371 Type If you have a mix of languages in the same paragraph, you can specify the direction of text at a character level. Also, to insert dates or numbers, specify the direction of text at the character level. From the Character panel menu, choose Character Direction and then select a direction. Digit Types When you are working in Arabic or Hebrew, you can select the type of digits you want to use. You can choose between Arabic, Hindi, and Farsi.
372 Type 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.
373 Type Ligatures You can automatically apply ligatures to character pairs in Arabic and Hebrew. Ligatures are typographic replacement characters for certain letter pairs if they are available in a given Open Type font. When you choose Ligatures from the Character panel menu or Control panel menu, a standard ligature defined in the font is produced. 1 Select text. 2 Choose Ligatures from the Character panel menu or the Control panel menu.
374 Type 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. Hyphenation Sentences that have more words that can fit into one line of text automatically wrap into the next line. The type of text justification when wrapping occurs sometimes causes unnecessary spaces to appear in the line that are not aesthetically pleasing or linguistically correct.
375 Type 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. For better styling of text, or improved readability of certain fonts, you can control the vertical or horizontal position of diacritical marks: 1 Select text that has diacritical marks 2 In the Character panel, modify the position of the diacritic marks relative to the script.
376 Type 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. The default auto-leading option sets the leading at 120% of the typeface size (for example, 12-point leading for 10-point type). When auto-leading is in use, the leading value appears in parentheses in the Leading menu of the Character panel.
377 Type 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.
378 Type Turn fractional character widths off or on By default, the software uses fractional character widths between characters. This means that the spacing between characters varies, and will sometimes use only fractions of whole pixels. In most situations, fractional character widths provide the best spacing for type appearance and readability.
379 Type Snap tab stops to the ruler units By default, you can position tab stops anywhere along the tab ruler. ❖ Choose Snap To Unit from the panel menu or hold down Shift as you drag a tab stop. Change the units of measure for the tab ruler The units of measure for the tab ruler are defined by the General units settings specified in the Units preferences (for all files) or by the units specified in the Document Setupdialog box (for the current file).
380 Type A Tab-alignment buttons B Tab stop on the ruler C Panel menu Move tabs 1 In the Tabs panel, select a tab stop on the ruler. 2 Do one of the following: • Type a new location in the X box (for horizontal text) or Y box (for vertical text), and press Enter or Return. • Drag the tab to a new location. • To move all tab stops simultaneously, Ctrl-drag (Windows) or Command-drag (Mac OS) a tab. As you move a tab stop, a visual guide appears in the selected text.
381 Type 3 To change the font or other formatting of the tab leader, select the tab character in the text frame, and use the Character panel or Type menu to apply formatting. More Help topics Workspace overview Change the unit of measurement Special characters About character sets and alternate glyphs Typefaces include many characters in addition to the ones you see on your keyboard.
382 Type When you select an OpenType font in the Glyphs panel, you can restrict the panel to display certain kinds of glyphs by selecting a category from the Show menu. You can also display a pop-up menu of alternate glyphs by clicking the triangle in the lower right corner of the glyph box where applicable. For a video on working with the Glyphs panel and the OpenType panel, see www.adobe.com/go/vid0048.
383 Type 2 Select Highlight Substituted Glyphs, and click OK. Substituted glyphs in the text are highlighted. Use ligatures and contextual alternates Ligatures are typographic replacement characters for certain letter pairs. Most fonts include ligatures for standard letter pairs such as fi, fl, ff, ffi, and ffl. In addition, some fonts include discretionary ligatures for letter pairs such as ct, st, and ft.
384 Type Formatting Asian characters Illustrator provides a variety of options for formatting Asian characters. For example, you can set Asian Open Type font attributes, use tate-chu-yoko, aki, warichu, mojisoroe, mojikumi, kinsoku, burasagari, and kurikaeshi moji shori. In addition, you can combine Asian and roman fonts and create composite fonts.
385 Type 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. Monospaced Quarter-Width Forms Changes the glyphs of the selected Latin characters to monospace quarter width.
386 Type Use tate-chu-yoko Tate-chu-yoko (also called kumimoji and renmoji) is a block of horizontal type laid out within vertical type lines. Using tate-chu-yoko makes it easier to read half-width characters such as numbers, dates, and short foreign words in vertical text. 1 Select characters and choose Tate-chu-yoko from the Character panel menu. (Select it again to turn Tate-chu-yoko off.
387 Type Use warichu The Warichu option in the Character panel decreases the typeface size of selected text to a percentage of the original and stacks the type—horizontally or vertically, according to the orientation—on multiple lines. 1 Select text and choose Warichu from the Character panel menu. (Select it again to turn it off.) 2 Select any of the following warichu settings from the Character panel menu: Lines Specifies how many lines of text will appear as warichu characters.
388 Type A Small characters aligned to the bottom B Small characters aligned to the center C Small characters aligned to the top ❖ In the Character panel menu, choose an option from the Character Alignment submenu: Roman Baseline Aligns the small characters in a line to the large character. Em box Top/Right, Em box Center, or Em box Bottom/Left Aligns the small characters in a line to the specified position of the large character’s em box.
389 Type GyoumatsuYakumonoZenkaku mojikumi setGyoumatsuYakumonoZenkaku Uses full-width spacing for most characters and the last character in the line. YakumonoZenkaku mojikumi setYakumonoZenkaku Uses full-width spacing for punctuation. 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.
390 Type Note: You cannot delete predefined mojikumi sets. Use kinsoku Kinsoku specifies line breaks for Japanese text. Characters that cannot be placed at the beginning or end of a line are known as kinsoku characters. Illustrator has hard kinsoku sets and soft kinsoku sets and Photoshop has weak and maximum sets. Soft or weak kinsoku sets omit long vowel symbols and small hiragana characters. You can use these existing sets, or add or delete kinsoku characters to create new sets.
391 Type Specify a kinsoku line-breaking option Kinsoku shori or mojikumi must be selected to use the following line-breaking options. ❖ From the Paragraph panel menu, choose Kinsoku Shori Type and then choose one of the following methods: Push In First Moves characters up to the previous line to prevent prohibited characters from ending or beginning a line. Push Out First Moves characters down to the next line to prevent prohibited characters from ending or beginning a line.
392 Type 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.
393 Type • Position the pointer in a paragraph, and triple-click to select the entire paragraph. • Select one or more characters, and choose Select > All to select all the characters in the type object. Select type objects Selecting a type object lets you apply global formatting options to all the characters in the object, including options from the Character and Paragraph panels, fill and stroke attributes, and transparency settings.
394 Type Check Hidden Layers Searches for text in hidden layers. When this option is deselected, Illustrator ignores text in hidden layers. Check Locked Layers Searches for text in locked layers. When this option is deselected, Illustrator ignores text in locked layers. 4 Click Find to begin the search. 5 If Illustrator finds an instance of the text string, do one of the following: • Click Replace to replace the text string, then click Find Next to find the next instance.
395 Type 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.
396 Type To specify the size for synthesized small caps, choose File > Document Setup. For Small Caps, type a percentage of the original font size for text to be formatted as small caps. (The default value is 70%.) To change the capitalization style of text to uppercase, lowercase, title case, or sentence case, use the Type > Change Case command. Change capitalization styles 1 Select the characters or type objects you want to change.
397 Type • To create the appearance of rasterization without changing the object’s underlying structure, choose Effect > Rasterize. 2 Choose an anti-aliasing option: None Applies no anti-aliasing and maintains the hard edges of type when it is rasterized. Art Optimized (Supersampling) Default option that rasterizes all objects, including text objects by the specified resolution and applies anti-aliasing to them. Default resolution is 300 pixels per inch.
398 Type 3 In the OpenType panel, choose an option from the Position pop-up menu: Default Position Uses the default position for the current font. Superscript/Superior Uses raised characters (if available in the current font). Subscript/Inferior Uses lowered characters (if available in the current font). Numerator Uses characters designed as fraction numerators (if available in the current font). Denominator Uses characters designed as fraction denominators (if available in the current font).
399 Type Choose a number style in OpenType fonts 1 To change the style of existing numbers, select the characters or type objects you want to change. If you don’t select any text, the setting applies to new text you create. 2 Make sure that an OpenType font is selected. 3 In the OpenType panel, choose an option from the Figures pop-up menu: Default Figure Uses the default style for the current font. Tabular Lining Uses full-height figures all of the same width (if available for the current font).
400 Type note: The Smart Quotes option always replaces straight quotes with curly quotes, regardless of the Double Quotes and Single Quotes settings in the Document Setup dialog box. extra spaces, eliminatingSmart Spaces Eliminates multiple spaces after a period. en and em dashes, smart punctuation optiondashes, en and emEn, Em Dashes Replaces a double keyboard dash with an en dash and a triple keyboard dash with an em dash. Ellipses Replaces three keyboard periods with ellipsis points.
401 Type By default, only the most commonly-used options in the Paragraph panel are visible. To show all options, choose Show Options from the panel menu. Alternatively, click the double triangle on the panel’s tab to cycle through the display sizes. Align text Area type and type on a path can be aligned with one or both edges of a type path. 1 Select the type object or insert the cursor in the paragraph you want to change.
402 Type Indent text Indention is the amount of space between text and the boundary of a type object. Indention affects only the selected paragraph or paragraphs, so you can easily set different indentions for different paragraphs. You can set indents using the Tabs panel, the Control panel, or the Paragraph panel. When working with area type, you can also control indention using tabs or by changing the inset spacing for the type object.
403 Type 3 To specify a negative first-line left indent value, do one of the following: • In the Paragraph panel, type a negative value for the first-line left indent . • In the Tabs panel, drag the top marker to the left, or the bottom marker to the right. Adjust paragraph spacing 1 Insert the cursor in the paragraph you want to change, or select a type object to change all of its paragraphs.
404 Type More Help topics Keys for working with type Change the margin around a text area Set the leading Specify a burasagari option Hyphenation and line breaks 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.
405 Type Use the hyphenation dictionary Illustrator uses Proximity language dictionaries to determine when to hyphenate words. These dictionaries let you specify a different language for as little as a single character of text. You can select a default dictionary and customize the dictionary in the Preferences dialog box. 1 Choose Edit > Preferences > Hyphenation (Windows) or Illustrator > Preferences > Hyphenation (Mac OS).
406 Type • In justified text, compressed or expanded word spacing is preferable to hyphenation. • In nonjustified text, hyphenation is preferable to compressed or expanded letterspacing. • If spacing must be adjusted, compression is better than expansion. To choose one of these methods, select it from the Paragraph panel menu. To apply the method to all paragraphs, first select the type object; to apply the method to the current paragraph only, first insert the cursor in that paragraph.
407 Type • Type > Legacy Text > Select Copies to select copied text objects. • Type > Legacy Text > Delete Copies to delete copied text objects. Character and paragraph styles 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. A paragraph style includes both character- and paragraph-formatting attributes, and can be applied to a selected paragraph or range of paragraphs.
408 Type Tip: To create a copy of a character or paragraph style, drag the style onto the New Style button. Edit character or paragraph styles You can change the definition of the default character and paragraph styles, as well as any new styles you create. When you change the definition of a style, all of the text formatted with that style changes to match the new style definition.
409 Type Load character and paragraph styles from another Illustrator document 1 In the Character Styles panel or the Paragraph Styles panel, do one of the following: • Choose Load Character Styles or Load Paragraph Styles from the panel menu. • Choose Load All Styles from the panel menu to load both character and paragraph styles. 2 Double-click the Illustrator document containing the styles you want to import.
410 Type 5 Choose an option from the Units pop-up menu to specify the unit used for font attributes: % or Q. 6 Set font attributes for the selected category of characters. Some attributes are not available for certain categories. 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.
411 Type Scale At Center Scaling for kana characters. When this option is selected, characters are scaled from the center. When this option is deselected, characters are scaled from the roman baseline. Tip: To specify the same transformation scale for all characters, specify a value for Size and fix the value for scale at 100%. To have a different character transformation scale for horizontal and vertical, fix Size at 100%, and set Scale.
412 Type Indic support with new Composers | Illustrator CC Illustrator CC includes enhanced support for Indic languages. You can now create documents using Indic text. The additional Middle Eastern & South Asian Composer provides correct word shaping for many of the non-Western scripts.
413 Type Note: In Preferences > Type, you can select only one of the Indic and Asian options at a same time. You can choose to have both options off, or select one of the two.
414 Chapter 10: Creating special effects 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. About appearance attributes Appearance attributes are properties that affect the look of an object without altering its underlying structure.
415 Creating special effects Reveal additional items in the Appearance panel When you select items that contain other items, such as a layer or group, the Appearance panel displays a Contents item. ❖ Double-click the Contents item. List character attributes for a text object in the Appearance panel When you select a text object, the panel displays a Characters item. 1 Double-click the Characters item in the Appearance panel.
416 Creating special effects A Targeting and appearance column B Selection column C Group with appearance attributes D Layer with appearance attributes E Object with appearance attributes The target icon indicates whether an item in the layer hierarchy has any appearance attributes and whether it is targeted: • Indicates the item is not targeted and has no appearance attributes beyond a single fill and a single stroke. • Indicates the item is not targeted but has appearance attributes.
417 Creating special effects Change the stacking order of appearance attributes ❖ Drag an appearance attribute up or down in the Appearance panel. (If necessary, click the toggle triangle next to an item to display its contents.) When the outline of the appearance attribute you are dragging appears in the desired position, release the mouse button. Remove or hide appearance attributes 1 Select the object or group (or target a layer in the Layers panel).
418 Creating special effects 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. • Alt-drag (Windows) or Option-drag (Mac OS) the target icon in the Layers panel onto the item to which you want to copy appearance attributes.
419 Creating special effects Working with effects 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). The primary difference between a filter and an effect is that a filter permanently modifies an object or layer, but an effect and its properties can be changed or removed at any time.
420 Creating special effects About raster effects Raster effects are effects that generate pixels, rather than vector data. Raster effects include SVG Filters, all of the effects at the bottom section of the Effect menu, and the Drop Shadow, Inner Glow, Outer Glow, and Feather commands in the Effect > Stylize submenu.
421 Creating special effects Transparent, you create an alpha channel (for all images except 1-bit images). The alpha channel is retained if the artwork is exported into Photoshop. (This option anti-aliases better than the Create Clipping Mask option.) Anti-alias Applies anti-aliasing to reduce the appearance of jagged edges in the rasterized image. When setting rasterization options for a document, deselect this option to maintain the crispness of fine lines and small text.
422 Creating special effects • If you plan to print to a grayscale printer, convert a copy of the bitmap image to grayscale before applying effects. Note, however, that in some cases, applying an effect to a color bitmap image and then converting it to grayscale may not have the same result as applying the same effect directly to a grayscale version of the image. Modify or delete an effect You modify or delete an effect by using the Appearance panel.
423 Creating special effects Effect Action Effect > Path Offset an object’s path relative to its original location, turn type into a set of compound paths that you can edit and manipulate as you would any other graphic object, and change the stroke of a selected object to a filled object that’s the same width as the original stroke. You can also apply these commands to a fill or stroke added to a bitmap object with the Appearance panel.
424 Creating special effects Artistic effects Artistic effects are raster-based and use the document’s raster effects settings whenever you apply the effect to a vector object. Colored Pencil Draws an image using colored pencils on a solid background. Important edges are retained and given a rough crosshatch appearance; the solid background color shows through the smoother areas. Cutout Portrays an image as though it were made from roughly cut-out pieces of colored paper.
425 Creating special effects and Best for smoother results, which are indistinguishable except on a large selection. Specify the origin of the blur by dragging the pattern in the Blur Center box. Smart Blur Blurs an image with precision. You can specify a radius, a threshold, and a blur quality. The Radius value determines the size of the area searched for dissimilar pixels. The Threshold value determines how dissimilar the pixels must be before they are affected.
426 Creating special effects Pixelate effects The Pixelate effects are raster-based and use the document’s raster effects settings whenever you apply the effect to a vector object. Color Halftone Simulates the effect of using an enlarged halftone screen on each channel of the image. For each channel, the effect divides the image into rectangles and replaces each rectangle with a circle. The circle size is proportional to the brightness of the rectangle.
427 Creating special effects Note Paper Creates an image that appears to be constructed of handmade paper. The effect simplifies an image, and combines the effect of the Grain command (Texture submenu) with an embossed appearance. Dark areas of the image appear as holes in the top layer of paper surrounded by white. Photocopy Simulates the effect of photocopying an image. Large areas of darkness tend to copy only around their edges; midtones fall away to either solid black or white.
428 Creating special effects NTSC Colors Restricts the gamut of colors to those acceptable for television reproduction to prevent oversaturated colors from bleeding across television scan lines. Use texture and glass surface controls Some effects included in Illustrator have texturizing options, such as the Glass, Rough Pastels, Grain, and Fresco effects. The texturizing options can make an object appear as though painted onto various textures, such as canvas or brick, or viewed through glass blocks.
429 Creating special effects 4 Set additional options, and click OK: Mode Specifies a blending mode for the glow. Opacity Specifies the percentage of opacity you want for the glow. Blur Specifies the distance from the center or edge of the selection where you want any blurring to occur. Center (Inner Glow only) Applies a glow that emanates from the center of the selection. Edge (Inner Glow only) Applies a glow that emanates from the inside edges of the selection.
430 Creating special effects 2 Choose Effect > Stylize > Scribble. 3 Do one of the following: • To use a preset scribble effect, choose one from the Settings menu. • To create a custom scribble effect, begin with any preset, and then adjust the Scribble options. 4 If creating a custom scribble, adjust any of the following Scribble options and click OK: Angle Controls the direction of the scribble lines.
431 Creating special effects Modify or delete an effect Selecting objects Rasterize a vector object About linked and embedded artwork Graphic styles 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. All the changes you apply with graphic styles are completely reversible.
432 Creating special effects Change how graphic styles are listed in the panel ❖ Do any of the following: • Select a view size option from the panel menu. Select Thumbnail View to display thumbnails. Select Small List View to display a list of named styles with a small thumbnail. Select Large List View to display a list of named styles along with a large thumbnail. • Select Use Square For Preview from the panel menu to view the style on a square or the shape of the object on which it was created.
433 Creating special effects Create a graphic style based on two or more existing graphic styles ❖ Ctrl-click (Windows) or Command-click (Mac OS) to select all the graphic styles you want to merge, and then choose Merge Graphic Styles from the panel menu. The new graphic style contains all the attributes of the selected graphic styles and is added to the end of the list of graphic styles in the panel.
434 Creating special effects Create a graphic style library 1 Add the graphic styles you want to the Graphic Styles panel, and delete any graphic styles you don’t want. To select all graphic styles that aren’t used in a document, choose Select All Unused from the Graphic Styles panel menu. 2 Choose Save Graphic Style Library from the Graphic Styles panel menu. You can save the library anywhere.
435 Creating special effects The replaced graphic style keeps its name but takes on new appearance attributes. All occurrences of the graphic style in the Illustrator document are updated to use the new attributes. Import all graphic styles from another document 1 Choose Window > Graphic Style Libraries > Other Library or select Open Graphic Style Library > Other Library from the Graphic Styles panel menu. 2 Select the file from which you want to import graphic styles, and click Open.
436 Chapter 11: Web graphics Best practices for creating webgraphics 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. Web graphics can take advantage of slices and image maps, and you can use a variety of optimization options and work with Device Central to ensure your files display well on the web.
437 Web graphics About pixel preview mode To enable web designers to create pixel accurate designs, the pixel-aligned property has been added in Illustrator CS5. When the pixel-aligned property is enabled for an object, all the horizontal and vertical segments in the object get aligned to the pixel grid, which provides a crisp appearance to strokes. On any transformation, as long as this property is set for the object, it gets realigned to the pixel grid according to its new coordinates.
438 Web graphics Access Illustrator from Adobe Device Central 1 Start Device Central. 2 Select File > New Document In > Illustrator. In Device Central, the New Document panel appears with the correct options to create a new mobile document in the selected application. 3 Make any necessary changes, such as selecting a Player Version, Display Size, Flash Version, or Content type. 4 Do one of the following: • Select the Custom Size for All Selected Devices option and add a width and height (in pixels).
439 Web graphics 14 When you are satisfied with the results, click Save in the Illustrator Save for Web & Devices dialog box. Note: To simply open Device Central from Illustrator (instead of creating and testing a file), select File > Device Central. For a tutorial about creating content with Illustrator and Device Central, see http://www.adobe.com/go/vid0207.
440 Web graphics Slices in an Illustrator document correspond to table cells in the resulting web page. By default, the slice area is exported as an image file that is enclosed in a table cell. If you want the table cell to contain HTML text and a background color instead of an image file, you can change the slice type to No Image. If you want to convert Illustrator text to HTML text, you can change the slice type to HTML Text.
441 Web graphics Tip: Use the Slice tool, the Create From Selection command, or the Create From Guides command when you want the slice dimensions to be independent of the underlying artwork. Slices that you create in one of these ways appear as items in the Layers panel, and you can move, resize, and delete them in the same way as other vector objects. Select slices Use the Slice Select tool to select a slice in the illustration window or the Save For Web & Devices dialog box.
442 Web graphics Tip: To edit the text for HTML Text slices in the Slice Options dialog box, change the slice type to No Image. This breaks the link with the text object on the artboard. To ignore text formatting, enter as the first word in the text object. Lock slices Locking slices prevents you from making changes accidentally, such as resizing or moving. • To lock all slices, choose View > Lock Slices. • To lock individual slices, click the slices’ edit column in the Layers panel.
443 Web graphics Show or hide slices • To hide slices in the illustration window, choose View > Hide Slices. • To hide slices in the Save For Web & Devices dialog box, click the Toggle Slices Visibility button . • To hide slice numbers and change the color of slice lines, choose Edit > Preferences > Smart Guides & Slices (Windows) or Illustrator > Preferences > Smart Guides & Slices (Mac OS). Create image maps Image maps enable you to link one or more areas of an image—called hotspots—to a URL.
444 Web graphics You can save artwork in SVG format using the Save, Save As, Save A Copy, or Save For Web & Devices command. To access the complete set of SVG export options, use the Save, Save As, or Save A Copy command. The Save For Web & Devices command provides a subset of SVG export options which are applicable to web-oriented work. For a video on creating mobile content in Illustrator, see www.adobe.com/go/vid0207. How you set up your artwork in Illustrator will affect the resulting SVG file.
445 Web graphics Note: An SVG effect must be the last effect when an object uses multiple effects; in other words, it must appear at the bottom of the Appearance panel (just above the Transparency entry). If other effects follow an SVG effect, the SVG output will consist of a raster object. Import effects from an SVG file 1 Choose Effect > SVG Filter > Import SVG Filter. 2 Select the SVG file you want to import effects from, and click Open.
446 Web graphics onkeypress Triggers the action while a key is pressed down. onkeyup Triggers the action when a key is released. onload Triggers the action after the SVG document has been completely parsed by the browser. Use this event to call one-time-only initialization functions. onerror Triggers the action when an element does not load properly or another error occurs. onabort Triggers the action when the page loading is stopped before the element is completely loaded.
447 Web graphics • Mesh objects and gradients with more than eight stops are rasterized and will appear as bitmap-filled shapes. Gradients with fewer than eight stops are exported as gradients. • Patterns are rasterized into small images the size of the pattern art and tiled to fill the art. • If a bitmap object extends beyond the boundaries of a slice, the entire object is included in the exported file. • SWF supports rounded caps and joins only.
448 Web graphics You can create graphically rich artwork in Illustrator and copy and paste it into Flash simply, quickly, and seamlessly.
449 Web graphics Symbol workflow in Illustrator is similar to symbol workflow in Flash. Symbol creation When you create a symbol in Illustrator, the Symbol Options dialog box lets you name the symbol and set options specific to Flash: movie clip symbol type (which is the default for Flash symbols), Flash registration grid location, and 9-slice scaling guides. In addition, you can use many of the same symbol keyboard shortcuts in Illustrator and Flash (such as F8 to create a symbol).
450 Chapter 12: Printing Setting up documents for printing 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 can affect the way your artwork appears when printed. Illustrator’s Print dialog box is designed to help you through the printing workflow. Each set of options in the dialog box is organized to guide you through the printing process.
451 Printing • To create artwork that does not print or export, even when visible on the artboard, select Template in the Layer Options dialog box. Note: You can also specify multiple artboards in your document and then choose one artboard at a time for printing in the Print dialog box. Only artwork within the artboard prints. For a video on defining crop artboards, see www.adobe.com/go/lrvid4016_ai.
452 Printing More Help topics Layers panel overview Using multiple artboards Print multiple artboards When you create a document with multiple artboards, you can print the document in a variety of ways. You can ignore the artboards and print everything on one page (tiling may be required if your artboards expand the page boundaries). Or you can print each artboard as an individual page. When you print artboards as individual pages, you can choose to print all artboards, or a range of artboards.
453 Printing More Help topics About print tiling 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.
454 Printing The PPD files for high-resolution imagesetters offer a wide range of possible line-screen rulings paired with various imagesetter resolutions. The PPD files for lower-resolution printers typically have only a few choices for line screens, and they are coarser screens of between 53 lpi and 85 lpi. The coarser screens, however, give optimum results on lowerresolution printers.
455 Printing Landscape Right Prints in landscape orientation, rotated to the right. 4 (Optional) Select Transverse to rotate the printed artwork 90°. To use this option, you must use a PPD that supports transverse printing and custom page sizes. Printing color separations 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.
456 Printing Use the Live Color dialog box to globally convert and reduce colors. For example, if you want to convert a process color document to a 2-color spot document use the Assign portion of Live Color, and specify which colors you want and how they are assigned to existing colors.
457 Printing 3 Select Output on the left side of the Print dialog box. 4 For Mode, select either Separations (Host-Based) or In-RIP Separations. 5 Specify an emulsion, image exposure, and printer resolution for the separations. 6 Set options for the color plates you want to separate: • To disable printing of a color plate, click the printer icon Click again to restore printing for the color. next to the color in the Document Ink Options list.
458 Printing Emulsion and image exposure Emulsion refers to the photosensitive layer on a piece of film or paper. Up (Right Reading) means that type in the image is readable (that is, “right reading”) when the photosensitive layer is facing you. Down (Right Reading) means that type is readable when the photosensitive layer is facing away from you. Normally, images printed on paper are printed Up (Right Reading), whereas images printed on film are usually printed Down (Right Reading).
459 Printing A Star target (not optional) B Registration mark C Page information D Trim marks E Color bar F Tint bar Add printer’s marks 1 Choose File > Print. 2 Select Marks & Bleed on the left side of the Print dialog box. 3 Select the kinds of printer’s marks you want to add. You can also choose between Roman and Japanese-style marks. 4 (Optional) If you select Trim Marks, specify the width of trim-mark lines and the offset distance between the trim marks and the artwork.
460 Printing 3 Do one of the following: • Enter values for Top, Left, Bottom, and Right to specify the placement of the bleed marks. Click the link icon make all the values the same. to • Select Use Document Bleed to use the bleed settings defined in the New Document dialog box. The maximum bleed you can set is 72 points; the minimum bleed is 0 points.
461 Printing Add a PPD file For best printing results, Adobe recommends that you obtain the latest version of the PPD file for your output device from the manufacturer. Many print service providers and commercial printers have PPDs for the imagesetters they use. Be sure to store PPDs in the location specified by the operating system. For details, consult the documentation for your operating system. ❖ In Windows and in Mac OS, you select a PPD file in the same way you add a printer.
462 Printing Tip: To rejoin a path after you split it, select all of the split paths that made up the original object, and click the Add To Shape Area button in the Pathfinder panel. The path is rejoined, with an anchor point placed at each intersection where a split path was reconnected. Control how fonts are downloaded to a printer Printer-resident fonts are fonts stored in a printer’s memory or on a hard drive connected to the printer.
463 Printing 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. It is also usually the best choice for documents used only on Mac OS.
464 Printing 4 For Color Handling, choose Let PostScript® Printer Determine Colors. 5 (Optional) Set any of the following options. In most cases, it is best to use the default settings. Rendering Intent Specifies how the application converts colors to the destination color space.
465 Printing When overlapping painted objects share a common color, trapping may be unnecessary if the color that is common to both objects creates an automatic trap. For example, if two overlapping objects contain cyan as part of their CMYK values, any gap between them is covered by the cyan content of the object underneath. Trapping type can present special problems.
466 Printing More Help topics About effects Apply Pathfinder effects Pathfinder panel overview Trap options Thickness Specifies a stroke width between 0.01 and 5000 points. Check with your print shop to determine what value to use. Height/Width Specifies the trap on horizontal lines as a percentage of the trap on vertical lines. Specifying different horizontal and vertical trap values lets you compensate for on-press irregularities, such as paper stretch.
467 Printing Create a spread or choke For more precise control of trapping and for trapping complex objects, you can create the effect of a trap by stroking an object and setting the stroke to overprint. 1 Select the topmost object of the two objects that must trap into each other. 2 In the Stroke box in the Tools panel or the Color panel, do one of the following: • Create a spread by entering the same color values for the Stroke as appear in the Fill box.
468 Printing A Overprinted top stroke creates spread trap B Bottom stroke creates knockout C Area of knockout D Area of trap 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.
469 Printing • If you have to print to an output device that supports Postscript Language Level 2, or when printing meshes that include transparency, you can choose to rasterize gradients and meshes during printing. As a result, Illustrator converts gradients and meshes from vector objects to JPEG images. Rasterize gradients and meshes during printing 1 Choose File > Print. 2 Select Graphics on the left side of the Print dialog box, and select Compatible Gradient And Gradient Mesh Printing.
470 Printing 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 Note the distance displayed in the Info panel on a piece of paper.
471 Printing Number of Steps Adobe Illustrator Recommends Maximum Blend Length Points Inches Cms 70 151.2 2.1 5.334 80 172.8 2.4 6.096 90 194.4 2.7 6.858 100 216.0 3.0 7.620 110 237.6 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.
472 Printing Number of Steps Adobe Illustrator Recommends Maximum Blend Length Points Inches Cms 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.
473 Printing Printing and saving transparentartwork When you save an Illustrator file in certain formats, the native transparency information is retained. For example, when you save a file in Illustrator CS (or later) EPS format, the file contains both native Illustrator data and EPS data. When you reopen the file in Illustrator, the native (unflattened) data is read. When you place the file into another application, the EPS (flattened) data is read.
474 Printing • 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).
475 Printing Expanded Patterns (Illustrator and Acrobat) Highlights all patterns that will be expanded if involved in transparency. Outlined Strokes Highlights all strokes that will be outlined if involved in transparency or because Convert All Strokes To Outlines is selected. Outlined Text (Illustrator and InDesign) Highlights all text that will be outlined if involved in transparency or because Convert All Text To Outlines is selected.
476 Printing note: Some print drivers process raster and vector art differently, sometimes resulting in color stitching. You may be able to minimize stitching problems by disabling some print-driver specific color-management settings. These settings vary with each printer, so see the documentation that came with your printer for details. (Illustrator only) Select Preserve Alpha Transparency (Flatten Transparency dialog box only) Preserves the overall opacity of flattened objects.
477 Printing In Illustrator and Acrobat, to magnify the preview, click in the preview area. To zoom out, Alt-click/Option-click in the preview area. To pan the preview, hold down the spacebar and drag in the preview area. Flattener Preview panel overview You use the preview options in the Flattener Preview panel to highlight the areas affected by flattening artwork. You can use this information to adjust the flattening options, and even use the panel to save flattener presets.
478 Printing You can choose a flattener preset in the Advanced panel of the Print dialog box or of the format-specific dialog box that appears after the initial Export or Save As dialog box. You can create your own flattener presets or choose from the default options provided with the software.
479 Printing 3 Do one of the following: • To rename an existing preset, click Edit, type a new name, and then click OK. • To delete a preset, click Delete, and then click OK to confirm the deletion.note: You cannot delete the default presets. Flatten transparency for individual objects The Flatten Transparency command lets you see what your artwork will look like when flattened.
480 Printing You can create and review print presets in the Print Presets dialog box. ❖ Do one of the following: • Choose File > Print, adjust print settings, and click Save Preset . Type a name or use the default, and then click OK. With this method, the preset is saved in the preferences file. • Choose Edit > Print Presets, and then click New. In the Print Presets dialog box, type a new name or use the default, adjust print settings, and then click OK to return to the Print Presets dialog box.
481 Printing View a summary of print settings/presets Use the Summary panel of the Print dialog box to view your output settings prior to printing, and then adjust them as necessary. For example, you can see if the document will omit certain graphics for OPI replacement by the service provider. 1 Choose File > Print. 2 In the Print dialog box, click Summary. 3 If you want to save the summary as a text file, click Save Summary.
482 Printing Set up overprinting 1 Select the object or objects that you want to overprint. 2 In the Attributes panel, select Overprint Fill, Overprint Stroke, or both. If you use the Overprint option on a 100% black stroke or fill, the black ink may not be opaque enough to prevent the underlying ink colors from showing through. To eliminate the show-through problem, use a four-color (rich) black instead of a 100% black.
483 Printing Specify crop marks for trimming or aligning 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. They are also helpful for aligning Illustrator artwork that you’ve exported to another application.
484 Printing From this version of Illustrator, you have the Discard White Overprint option to remove white overprint attributes in the Document Setup and Print dialogs. This option is, by default, switched on in both dialogs . If the Discard White Overprint option is not selected in the Document Setup dialog, it can be overridden by selecting the option in the Print dialog. Scenario 1 An object with overprint is selected, and then a new object with white fill/stroke is created.
485 Chapter 13: Automating tasks Automation with actions 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. For example, you can create an action that changes the size of an image, applies an effect to the image, and then saves the file in the desired format. Actions can include steps that let you perform tasks that cannot be recorded (for example, using a painting tool).
486 Automating tasks View actions by name only ❖ Choose Button Mode from the Actions panel menu. Choose Button Mode again to return to list mode. Note: You can’t view individual commands or sets in Button mode. Select actions in the Actions panel ❖ Click an action name. Shift-click action names to select multiple, contiguous actions, and Ctrl-click (Windows) or Command-click (Mac OS) action names to select multiple, discontiguous actions.
487 Automating tasks note: If you assign an action the same shortcut that is used for a command, the shortcut will apply the action rather than the command. Color Assigns a color for display in Button mode. 4 Click Begin Recording. The Begin Recording button in the Actions panel turns red . Note: When recording the Save As command, do not change the filename. If you enter a new filename, that new name is recorded and used each time you run the action.
488 Automating tasks Insert a stop You can include stops in an action that let you perform a task that cannot be recorded (for example, using a painting tool). After you complete the task, click the Play button in the Actions panel to complete the action. You can also display a short message when the action reaches the stop as a reminder of what needs to be done before continuing with the action. You can include a Continue button in the message box in case no other task needs to be done.
489 Automating tasks • 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. Specify playback speed You can adjust an action’s playback speed or pause it to help you debug an action. 1 Choose Playback Options from the Actions panel menu.
490 Automating tasks Record a single task again 1 Select an object of the same type for which you want to rerecord the action. For example, if a task is only available for vector objects, you must have a vector object selected when you rerecord. 2 In the Actions panel, double-click the command. 3 Enter the new values and click OK. Manage action sets You can create and organize sets of task-related actions that can be saved to disk and transferred to other computers.
491 Automating tasks Organize action sets To help you organize your actions, you can create sets of actions and save the sets to disk. You can organize sets of actions for different types of work—such as print publishing and online publishing—and transfer sets to other computers. • To create a new set of actions, click the Create New Set button panel menu. Then enter the name of the set, and click OK.
492 Automating tasks Batch options If you select Folder for Source, you can set the following options: Override Action “Open” Commands Opens the files from the specified folder and ignores any Open commands recorded as part of the original action. Include All Subdirectories Processes all files and folders within the specified folder.
493 Automating tasks Install a script ❖ Copy the script to your computer’s hard disk. If you place the script in the Adobe Illustrator CS5 Scripts folder, the script will appear in the File > Scripts submenu. If you place the script in another location on the hard disk, you can run the script in Illustrator by choosing File > Scripts > Other Script.
494 Automating tasks The Variables panel uses the following icons to indicate a variable’s type: • Visibility variable . • Text String variable . • Linked File variable . • Graph Data variable . • 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. Create variables You can create four types of variables in Illustrator: Graph Data, Linked File, Text String, and Visibility.
495 Automating tasks Unbind a variable ❖ Click the Unbind Variable button in the Variables panel, or choose Unbind Variable from the Variables panel menu. Lock or unlock all variables in a document ❖ Click the Lock/Unlock Variables button or in the Variables panel. Delete variables Deleting a variable removes it from the Variables panel. If you delete a variable that is bound to an object, the object becomes static (unless the object is also bound to a variable of a different type).
496 Automating tasks Data sets A data set is a collection of variables and associated data. When you create a data set, you capture a snapshot of the dynamic data that is currently displayed on the artboard. You can switch between data sets to upload different data into your template. The name of the current data set is displayed at the top of the Variables panel.
497 Automating tasks 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.
498 Chapter 14: Graphs Graphs 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. The tool you use initially determines the type of graph Illustrator generates; however, you can easily change the type of graph later on.
499 Graphs Adjust the width of columns ❖ Do one of the following: • Click the Cell Style button , and enter a value between 0 and 20 in the Column Width text box. • Position the pointer at the edge of the column you want to adjust. The pointer changes to a double arrow Then drag the handle to the desired position. . Adjust the decimal precision for cells ❖ Click the Cell Style button, and enter a value between 0 and 10 in the Number of Decimals text box.
500 Graphs A Data set labels B Blank cell C Category labels Enter labels ❖ For column, stacked column, bar, stacked bar, line, area, and radar graphs, enter labels in the worksheet as follows: • If you want Illustrator to generate a legend for the graph, delete the contents of the upper-left cell and leave the cell blank. • Enter labels for the different sets of data in the top row of cells. These labels will appear in the legend.
501 Graphs • Enter data-set labels as for column, stacked column, bar, stacked bar, line, area, and radar graphs. Enter category labels if you want to generate graph names. • To create a single pie graph, plot only one row of data, either all positive or all negative values. • To create multiple pie graphs, plot additional rows of data, either all positive or all negative values. By default, the size of the individual pie graphs is proportional to the total of each graph’s data.
502 Graphs You can also manually customize your graph in numerous ways. You can change the colors of shading; change the typeface and type style; move, reflect, shear, rotate, or scale any or all parts of the graph; and customize column and marker designs. You can apply transparency, gradients, blends, brush strokes, graphic styles, and other effects to graphs. You should always apply these types of changes last, because regenerating the graph will remove them.
503 Graphs Assign different scales to the value axes If your graph has a value axis on both sides, you can assign a different set of data to each axis. This causes Illustrator to generate a different scale for each axis. This technique is especially useful when you combine different graph types in the same graph. 1 Select the Group Selection tool . 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.
504 Graphs First Column In Front Places the column, bar, or line that corresponds to the first column of data in the Graph Data window on top. This option also determines which column is on top for column and stacked column graphs with a Column Width greater than 100% and for bar and stacked bar graphs with a Bar Width greater than 100%. Mark Data Points Places square markers at each data point. Connect Data Points Draws lines that make it easier to see relationships among data.
505 Graphs Legends In Wedges Inserts labels into the corresponding wedges. No Legend Omits legends entirely. Position Specifies how multiple pie graphs are displayed. Ratio Sizes the graphs proportionally. Even Makes all the pie graphs the same diameter. Stacked Stacks each pie graph on top of the other, and each graph is sized proportionally to each other. Sort Specifies how wedges are sorted.
506 Graphs 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. You can click as many times as the number of groups to add to a selection.
507 Graphs Sliding design Is similar to a vertically scaled design, except that you can specify where in the design to stretch or compress it. For example, if you were using a person to represent data, you might stretch or compress only the body, but not the head. Using the Vertically Scaled option would scale the entire person. Import a column or marker design Illustrator comes with a variety of preset designs that you can use in your graphs.
508 Graphs Creating a graph design is similar to creating a pattern. More Help topics About patterns Create a sliding column design 1 Create a rectangle as the backmost object in the design. This rectangle is the boundary for the graph design. 2 Create the design using one of the drawing tools, or place an existing design in front of the rectangle. 3 Use the Pen tool to draw a horizontal line to define where the design is to be stretched or compressed.
509 Graphs 10 Click Rename to name the design. Create a marker design 1 Select and copy a marker rectangle from the graph, and paste it where you're going to create your design. This will be the backmost object in your graph design and will establish the size of the marker. 2 Make the marker artwork the size you want it to be in the graph, even if it’s larger than the marker rectangle you copied.
510 Graphs 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.
511 Chapter 15: Keyboard shortcuts Customizing 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. Customize keyboard shortcuts Illustrator lets you view a list of all shortcuts, and edit or create shortcuts.
512 Keyboard shortcuts • To change a shortcut, click in the Shortcut column of the scroll list and type a new shortcut. If you enter a shortcut that is already assigned to another command or tool, an alert appears at the bottom of the dialog box. Click Undo to undo the change, or click Go To to go to the other command or tool and assign it a new shortcut. In the Symbol column, type the symbol that will appear in the menu or tool tip for the command or tool.
513 Keyboard shortcuts Result Windows Mac OS Paintbrush tool B B 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 Li
514 Keyboard shortcuts Result Windows Mac OS Switch to Hand tool (when not in text-edit mode) Spacebar Spacebar Switch to Zoom tool in magnify mode Ctrl + Spacebar Spacebar + Command Switch to Zoom tool in reduce mode Ctrl + Alt + Spacebar Spacebar + Command + Option Move Zoom marquee while dragging with the Spacebar Zoom tool Spacebar Hide unselected artwork Control + Alt + Shift + 3 Command + Option + Shift + 3 Convert between horizontal and vertical guide Alt-drag guide Option-drag gu
515 Keyboard shortcuts Result Windows Constrain a shape’s proportions or orientation Shift-drag to: • equal height and width for rectangles, rounded rectangles, ellipses, and grids • Increments of 45° for line and arc segments • Original orientation for polygons, stars, and flares Mac OS Shift-drag Move a shape while drawing it spacebar-drag spacebar-drag Draw from the center of a shape (except for polygons, stars, and flares) Alt-drag Option-drag Increase or decrease polygon sides, star po
516 Keyboard shortcuts Result Windows Mac OS Switch through drawing modes Shift+D Shift+D Join two or more paths Select the paths, then press Ctrl+J Select the paths, then press Command+J Create corner or smooth join Select the paths, then press Shift+Ctrl+Alt+j Select the anchor point, then press Shift+Command+Option+j Keys for drawing in perspective 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.
517 Keyboard shortcuts Result Windows Mac OS Change pointer to cross hair for Lasso tool Caps Lock Caps Lock Select artwork in active artboard Ctrl + Alt + A Command + Option + A Create crop marks around selected object Alt + c + o Select behind an object Press Ctrl+click twice Press Command+click twice Select behind in isolation mode Ctrl+click twice Command+click twice Keys for moving selections This is not a complete list of keyboard shortcuts.
518 Keyboard shortcuts Result Windows Mac OS Erase unwanted closed regions created using Shape Builder tool Alt+click the closed region Option+click the closed region Select the Shape Builder tool Shift+M Shift+M Display rectangular marquee to easily merge multiple paths (when using Shape Builder tool) Shift+click+drag Shift+click+drag Keys for painting objects This is not a complete list of keyboard shortcuts.
519 Keyboard shortcuts Result Windows Mac OS Switch to Eyedropper tool and sample fill and/or stroke Alt-click + Live Paint Bucket tool Option-click + Live Paint Bucket tool Switch to Eyedropper tool and sample color from an image or intermediate color from a gradient Alt + Shift-click + Live Paint Bucket tool Option + Shift-click + Live Paint Bucket tool Select opposite Live Paint Bucket tool options Shift + Live Paint Bucket tool (if Paint Fills and Paint Strokes are currently selected, switch t
520 Keyboard shortcuts Results Windows Mac OS Select multiple width points Shift+click Shift+click Create non-uniform widths Alt+drag Option+drag Create a copy of the width point Alt+drag the width point Options+drag the width point Change the position of multiple width points Shift+drag Shift+drag Delete selected width point Delete Delete Deselect a width point Esc Esc Keys for working with type This is not a complete list of keyboard shortcuts.
521 Keyboard shortcuts Result Windows Mac OS Increase or decrease baseline shift Alt + Shift + Up or Down Arrow (horizontal text) or Right or Left Arrow (vertical text) Option + Shift + Up or Down Arrow (horizontal text) or Right or Left Arrow (vertical text) Switch between Type and Vertical Type, Area Type and Vertical Area Type, and Path Type and Vertical Path Type tools Shift Shift Switch between Area Type and Path Type, Alt Vertical Area Type and Vertical Path Type tools Option To change the
522 Keyboard shortcuts 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 Open Brush Options dialog box Double-click brush Double-click brush Duplicate brush Drag brush to New Brush button Drag brush to New Brush button Keys for the Character and Paragraph panels This is not a complete list of keyboard shortcuts.
523 Keyboard shortcuts 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
524 Keyboard shortcuts 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 Keys for the Transform panel This is not a complete list of keyboard shortcuts.
525 Keyboard shortcuts Result Windows Mac OS Create new symbol F8 F8 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/hid
