Using ADOBE ILLUSTRATOR CS4 ® ®
© 2008 Adobe Systems Incorporated. All rights reserved. Copyright Using Adobe® Illustrator® CS4 for Windows® and Mac OS If this guide is distributed with software that includes an end user agreement, this guide, as well as the software described in it, is furnished under license and may be used or copied only in accordance with the terms of such license.
2003 Franklin Electronic Publishers Inc.©Copyright 2003 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1984 William Collins Sons & Co. Ltd. ©Copyright 1988 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1990 Munksgaard International Publishers Ltd. ©Copyright 1990 All rights reserved.
iv Contents Chapter 1: Resources Activation and registration Help and support ............................................................................................ 1 ...................................................................................................... 2 Services, downloads, and extras Illustrator video tutorials What’s new ........................................................................................ 3 ..................................................................
USING ADOBE ILLUSTRATOR CS4 v Contents Color-managing documents for online viewing Proofing colors Color-managing documents when printing Working with color profiles Color settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
USING ADOBE ILLUSTRATOR CS4 vi Contents Chapter 10: Type Importing text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293 Creating text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
USING ADOBE ILLUSTRATOR CS4 vii Contents Chapter 14: Automating tasks Actions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 436 Scripts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1 Chapter 1: Resources Before you begin working with your software, take a few moments to read an overview of activation and the many resources available to you. You have access to instructional videos, plug-ins, templates, user communities, seminars, tutorials, RSS feeds, and much more. In addition, check out these how-to guides to see examples of how leading designers use Illustrator to create amazing artwork: www.adobe.com/go/learn_ai_tutorials_howtos_en.
USING ADOBE ILLUSTRATOR CS4 2 Resources ReadMe A ReadMe file for your software is available on-line and on the installation disc. Open the file to read important information about topics such as the following: • System requirements • Installation (including uninstalling the software) • Activation and registration • Font installation • Troubleshooting • Customer support • Legal notices Help and support Community Help Community Help is an integrated environment on Adobe.
USING ADOBE ILLUSTRATOR CS4 3 Resources If you’re not connected to the Internet, the Help menu within the product opens local Help, a subset of the content available in on-line product Help. Because local Help is not as complete or up-to-date as on-line product Help, Adobe recommends that you use the PDF version of product Help if you want to stay offline.
USING ADOBE ILLUSTRATOR CS4 4 Resources Adobe Exchange Visit the Adobe Exchange at www.adobe.com/go/exchange to download samples as well as thousands of plug-ins and extensions from Adobe and third-party developers. The plug-ins and extensions can help you automate tasks, customize workflows, create specialized professional effects, and more. Adobe downloads Visit www.adobe.com/go/downloads to find free updates, tryouts, and other useful software. Adobe Labs Adobe Labs at www.adobe.
USING ADOBE ILLUSTRATOR CS4 5 Resources Click any of these links to view a video tutorial that teaches you how to use Illustrator.
USING ADOBE ILLUSTRATOR CS4 6 Resources Creating point and area type (Video Workshop) Creating type on a path (Video Workshop) Working with Character and Paragraph text and styles (Video Workshop) Working with Open Type and the Glyphs panel (Video Workshop) Using text effectively between Illustrator and Flash (Video Workshop) Using color Working with color groups and color harmonies (Adobe TV) Using Kuler color themes (Adobe TV) Using the Separations Preview (Adobe TV) Using the Color Guide to find and cre
USING ADOBE ILLUSTRATOR CS4 7 Resources Introducing CS4 Web Premium (Adobe TV) Introducing CS4 Production Premium (Adobe TV) Using ConnectNow to share your screen (Adobe TV) Using Adobe Bridge Introducing Bridge CS4 (Adobe TV) Working with metadata and keywords (Adobe TV) Previewing and comparing images (Adobe TV) Creating a web photo gallery (Adobe TV) Using Device Central Introducing Adobe Device Central CS4 (Adobe TV) Using the online library (Adobe TV) Managing mobile projects (Adobe TV) Automating tes
USING ADOBE ILLUSTRATOR CS4 8 Resources Quick, easy, and obvious key object alignment The Align panel and Control panel now provide quick access to the key alignment option. A key object is the one object that you want other objects to align to. You specify a key object by selecting all the objects you want to align, including the key object, and then clicking again on the key object.
USING ADOBE ILLUSTRATOR CS4 9 Resources In-panel Appearance editing Select an item in the Appearance panel to view and use the enhanced full-featured controls. Click hyper-links to open option dialog boxes for effects, strokes, and fills. Click a visibility icon for any attribute to easily turn it on or off. (See “Appearance attributes” on page 349.
10 Chapter 2: Workspace Welcome to Adobe® Illustrator® CS4. Illustrator gives you an efficient workspace and user interface to create and edit artwork for print, the web, and mobile devices. To see a video on using Adobe Illustrator, see www.adobe.com/go/lrvid4015_ai. 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.
USING ADOBE ILLUSTRATOR CS4 11 Workspace A B C D E G F H Default Illustrator 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 • The Application bar across the top contains a workspace switcher, menus (Windows only), and other application controls. On the Mac for certain products, you can show or hide it using the Window menu.
USING ADOBE ILLUSTRATOR CS4 12 Workspace • On the Mac, the Application frame groups all the workspace elements in a single, integrated window that lets you treat the application as a single unit. When you move or resize the Application frame or any of its elements, all the elements within it respond to each other so none overlap. Panels don’t disappear when you switch applications or when you accidentally click out of the application.
USING ADOBE ILLUSTRATOR CS4 13 Workspace About screen modes You can change the visibility of the illustration window and menu bar using the mode options at the bottom of the Tools panel. To access panels when in Full Screen Mode, position the cursor at the left or right edge of the screen and the panels will pop up. If you’ve moved them from their default locations, you can access them from the Window menu.
USING ADOBE ILLUSTRATOR CS4 14 Workspace • Drag the dial. • Click the arrow buttons in the panel to increase or decrease the value. • Click in the box and then use the Up Arrow key and Down Arrow key on the keyboard to increase or decrease the value. Hold down Shift and click an arrow key to magnify the increase rate or decrease rate. • Select a value from the menu associated with the box. A B C D E Ways to enter values A. Arrow buttons B. Text box C. Menu arrow D. Slider E.
USING ADOBE ILLUSTRATOR CS4 15 Workspace Change the kinds of controls that appear in the Control panel ❖ Select or deselect options in the Control panel menu. Open and close a panel or dialog box from the Control panel 1 Click a blue underlined word to open its associated panel or dialog box. 2 Click anywhere outside of the panel or dialog box to close it. Dock the Control panel at the bottom of the workspace ❖ Choose Dock To Bottom from the Control panel menu.
USING ADOBE ILLUSTRATOR CS4 16 Workspace Note: Dreamweaver does not support docking and undocking Document windows. Use the Document window’s Minimize button to create floating windows. • To create groups of stacked or tiled documents, drag the window to one of the drop zones along the top, bottom, or sides of another window. You can also select a layout for the group by using the Layout button on the Application bar. Note: Some products do not support this functionality.
USING ADOBE ILLUSTRATOR CS4 17 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.
USING ADOBE ILLUSTRATOR CS4 18 Workspace Free-floating stacked panels • To stack floating panels, drag a panel by its tab to the drop zone at the bottom of another panel. • To change the stacking order, drag a panel up or down by its tab. Note: Be sure to release the tab over the narrow drop zone between panels, rather than the broad drop zone in a title bar. • To remove a panel or panel group from the stack, so that it floats by itself, drag it out by its tab or title bar.
USING ADOBE ILLUSTRATOR CS4 19 Workspace • To collapse an expanded panel back to its icon, click its tab, its icon, or the double arrow in the panel’s title bar. In some products, if you select Auto-Collapse Icon Panels from the Interface or User Interface Options preferences, an expanded panel icon collapses automatically when you click away from it. • To add a floating panel or panel group to an icon dock, drag it in by its tab or title bar.
USING ADOBE ILLUSTRATOR CS4 20 Workspace Display or switch workspaces ❖ Select a workspace from the workspace switcher in the Application bar. In Photoshop, you can assign keyboard shortcuts to each workspace to navigate among them quickly. Delete a custom workspace • Select Manage Workspaces from the workspace switcher in the Application bar, select the workspace, and then click Delete. (The option is not available in Fireworks.
USING ADOBE ILLUSTRATOR CS4 21 Workspace You can expand some tools to show hidden tools beneath them. A small triangle at the lower-right corner of the tool icon signals the presence of hidden tools. To see the name of a tool, position the pointer over it.
USING ADOBE ILLUSTRATOR CS4 22 Workspace 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. Select a tool ❖ Do one of the following: • Click a tool in the Tools panel.
USING ADOBE ILLUSTRATOR CS4 23 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. The Direct Selection tool (A) selects points or path segments within objects. The Lasso tool (Q) selects points or path segments within objects.
USING ADOBE ILLUSTRATOR CS4 24 Workspace The Pen tool (P) draws straight and curved lines to create objects. The Add Anchor Point tool (+) adds anchor points to paths. The Delete Anchor Point tool (-) deletes anchor points from paths. The Convert Anchor Point tool (Shift+C) changes smooth points to corner points and vice versa. The Line Segment tool (\) draws individual straight line segments. The Arc tool draws individual concave or convex curve segments.
USING ADOBE ILLUSTRATOR CS4 25 Workspace The Smooth tool smooths Bezier paths. The Path Eraser tool erases paths and anchor points from the object. Type tool gallery Illustrator provides the following type tools: The Type tool (T) creates individual type and type containers and lets you enter and edit type. The Area Type tool changes closed paths to type containers and lets you enter and edit type within them.
USING ADOBE ILLUSTRATOR CS4 26 Workspace The Paintbrush tool (B) draws freehand and calligraphic lines, as well as art and patterns on paths. The Mesh tool (U) creates and edits meshes and mesh envelopes. The Gradient tool (G) adjusts the beginning and ending points and angle of gradients within objects, or applies a gradient to objects. The Eyedropper tool (I) samples and applies color, type, and appearance attributes, including effects, from objects.
USING ADOBE ILLUSTRATOR CS4 27 Workspace The Reshape tool adjusts selected anchor points while keeping the overall detail of the path intact. The Free Transform tool (E) scales, rotates, or skews a selection. The Blend tool (W) creates a series of objects blended between the color and shape of multiple objects. The Warp tool (Shift+R) molds objects with the movement of the cursor (like molding clay, for example). The Twirl tool creates swirling distortions within an object.
USING ADOBE ILLUSTRATOR CS4 28 Workspace The Symbol Sprayer tool (Shift+S) places multiple symbol instances as a set on the artboard. The Symbol Shifter tool moves symbol instances The Symbol Scruncher tool moves symbol instances closer together or farther apart. The Symbol Sizer tool resizes symbol instances. The Symbol Spinner tool rotates symbol instances. The Symbol Stainer tool colorizes symbol instances. The Symbol Screener tool applies opacity to symbol instances.
USING ADOBE ILLUSTRATOR CS4 29 Workspace 80 100 50 70 80 40 60 30 40 20 20 10 0 0 60 A B C D 50 40 30 20 10 20 30 40 50 The Line Graph tool creates graphs that use points to represent one or more sets of values, with a different line joining the points in each set. This type of graph is often used to show the trend of one or more subjects over a period of time.
USING ADOBE ILLUSTRATOR CS4 30 Workspace The Knife tool cuts objects and paths. 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. The Print Tiling tool adjusts the page grid to control where artwork appears on the printed page. The Zoom tool (Z) increases and decreases the view magnification in the illustration window.
USING ADOBE ILLUSTRATOR CS4 31 Workspace Web Document Provides preset options optimized for output to the web. Mobile And Devices Document Creates a small file size that is preset for a specific mobile device. You can choose your device from the Size menu. Click Device Central to open Adobe Device Central and view the document layout in a specified device interface.
USING ADOBE ILLUSTRATOR CS4 32 Workspace • If the Welcome screen is open, click a document profile from the Create New list. • If Illustrator is not open, open it and click a document profile from the Create New list in the Welcome screen. Note: In the Welcome screen, you can Alt-click (Windows) or Option-click (Mac OS) to open the new document directly and skip the New Document dialog box. 2 Type a name for your document.
USING ADOBE ILLUSTRATOR CS4 33 Workspace Create a new document from a template 1 Do one of the following: • Choose File > New From Template. • Choose File > New. In the New Document dialog box, click Templates. • In the Welcome screen, click From Template in the Create New list. 2 In the New From Template dialog box, locate and select a template, and click New. About templates Templates let you create new documents that share common settings and design elements.
USING ADOBE ILLUSTRATOR CS4 34 Workspace Specify document setup options At any point you can change your document’s default setup options for units of measure, transparency grid display, background color, and type settings such as language, quote style, superscript and subscript size, and exportability. The Edit Artboards button closes this dialog box and activates the Artboard tool. Use this button if you want to modify your artboards.
USING ADOBE ILLUSTRATOR CS4 35 Workspace • Choose Reveal In Bridge from the status bar. From Adobe Bridge, you can do any of the following: • Manage image, footage, and audio files: Preview, search, sort, and process files in Bridge without opening individual applications. You can also edit metadata for files, and use Bridge to place files into your documents, projects, or compositions.
USING ADOBE ILLUSTRATOR CS4 36 Workspace For a video on Version Cue, see www.adobe.com/go/lrvid4038_vc. For Version Cue Help, see www.adobe.com/go/learn_vc_versioncuehelp_cs4. See also Version Cue Help Version Cue video Manage connections to web services In Adobe® Creative Suite® 4, the Connections panel lets you manage connections to web services and the locally installed extensions that interact with them. The Connections panel itself is an extension.
USING ADOBE ILLUSTRATOR CS4 37 Workspace Disable web services If your work environment disallows online connections, you can disable web services. You can also use this option to disable your product from accessing online Community Help. When you disable web services and search for help, the product provides results from the local help system only. Note: Local Help includes only a portion of the full version of online product Help. 1 From the Connections panel menu , select Offline Options.
USING ADOBE ILLUSTRATOR CS4 38 Workspace You can use artboards as crop areas for printing or placement purposes—they work the same way as crop areas work in Illustrator CS3. Multiple artboards are useful for creating a variety of things such as multiple page PDFs, printed pages with different sizes or different elements, independent elements for websites, video storyboards, or individual items for animation in Adobe Flash or After Effects.
USING ADOBE ILLUSTRATOR CS4 39 Workspace You can preview artboards from the print dialog before printing them. The print settings you choose are applied to all of the artboards you selected to print. 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.
USING ADOBE ILLUSTRATOR CS4 40 Workspace • To duplicate an existing artboard, select the Artboard tool, click to select the artboard you want to duplicate, and ; then click where you want to place the duplicated click the New Artboard button in the Control panel artboard. To create multiple duplicates, Alt-click as many times as you want. Or, using the Artboard tool, Alt-drag (Windows) or Option-drag (Mac OS) the artboard you want to duplicate.
USING ADOBE ILLUSTRATOR CS4 41 Workspace 2 Do one of the following: • To move the artboard and its contents, click to select the Move/Copy Artwork With Artboard icon on the Control panel panel. , and then position the pointer in the artboard and drag. Or, specify new X and Y values in the Control • To move the artboard without its contents, click to deselect the Move/Copy Artwork With Artboard icon on the Control panel, and then position the pointer in the artboard and drag.
USING ADOBE ILLUSTRATOR CS4 42 Workspace Viewing artwork Specify Document Setup options At any point you can change your document’s default setup options for units of measure, transparency grid display, background color, and type settings such as language, quote style, superscript and subscript size, bleeds, and exportability. The Edit Artboards button closes this dialog box and activates the Artboard tool. 1 Choose File > Document Setup, or click the Document Setup button in the Control panel.
USING ADOBE ILLUSTRATOR CS4 43 Workspace When you divide the artboard into multiple tiles, the pages are numbered from left to right and from top to bottom, starting with page 1. These page numbers appear on-screen for your reference only; they do not print. The numbers enable you to print all of the pages in the file or specify particular pages to print.
USING ADOBE ILLUSTRATOR CS4 44 Workspace See also “Moving and zooming tool gallery” on page 30 “Keys for viewing artwork” on page 465 Navigator panel overview You use the Navigator panel (Window > Navigator) to quickly change the view of your artwork using a thumbnail display. The colored box in the Navigator (called the proxy view area) corresponds to the currently viewable area in the illustration window. B A C D E F G Navigator panel A. Thumbnail display of artwork B. Panel menu button C.
USING ADOBE ILLUSTRATOR CS4 45 Workspace • To view all items in unselected layers as outlines, Alt+Ctrl-click (Windows) or Option+Command-click (Mac OS) the eye icon for the selected layer. Alternatively, select Outline Others from the Layers panel menu. You can return all items in the Layers panel to Preview mode by choosing Preview All Layers from the Layers panel menu.
USING ADOBE ILLUSTRATOR CS4 46 Workspace Pixel Preview mode (View > Pixel Preview) Approximates how your artwork will appear when it is rasterized and viewed in a web browser. Flattener Preview panel (Window > Flattener Preview) Highlights areas of the artwork that meet certain criteria for flattening when saved or printed. Soft-proofs Approximate how your document’s colors will appear on a particular type of monitor or output device.
USING ADOBE ILLUSTRATOR CS4 47 Workspace Change the unit of measurement The default unit of measurement in Illustrator is points (a point equals .3528 millimeter). You can change the unit that Illustrator uses for general measurements, strokes, and type. You can override the default unit while entering values in boxes.
USING ADOBE ILLUSTRATOR CS4 48 Workspace Create guides 1 If the rulers aren’t showing, choose View > Show Rulers. 2 Position the pointer on the left ruler for a vertical guide or on the top ruler for a horizontal guide. 3 Drag the guide into position. You can also convert vector objects to guides by selecting them and choosing View > Guides > Make Guides. To make working with multiple guides easier, move them into a separate layer.
USING ADOBE ILLUSTRATOR CS4 49 Workspace • When you create an object with the pen or shape tools, or when you transform an object, use the smart guides’ construction guides to position anchor points to specific preset angles, such as 45 or 90 degrees. You set these angles in the Smart Guides preferences. • When you move an object or artboard, use the Smart Guides to align the selected object or artboard to other objects or artboards. The alignment is based on the geometry of objects and artboards.
USING ADOBE ILLUSTRATOR CS4 50 Workspace • You can activate only one artboard at a time, whereas you can create and display multiple crop marks. • The artboard is indicated by visible but non-printing marks, whereas crop marks are printed with registration black (so that they print to every separation plate, similar to printer’s marks). Note: Crop marks do not replace trim marks created with the Marks & Bleed options in the Print dialog box.
USING ADOBE ILLUSTRATOR CS4 51 Workspace • When you use the Shear tool, the Info panel displays the coordinates of the object’s center, the angle of shear axis , and the amount of shear . • When you use the Paintbrush tool, the Info panel displays the x and y coordinates and the name of the current brush.
USING ADOBE ILLUSTRATOR CS4 52 Workspace You can install any commercial plug-in designed for use with Photoshop or Illustrator. To install an Adobe Systems plug-in module, use the installer if one is provided. Otherwise, drag a copy of the module to the Plug-ins folder inside the Illustrator folder. Then restart Illustrator for the plug-in to take effect. To install a third-party plug-in module, follow the installation instructions that came with the plug-in module.
53 Chapter 3: Drawing 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.
USING ADOBE ILLUSTRATOR CS4 54 Drawing A B C Points on a path A. Four corner points B. Four smooth points C. Combination of corner and smooth points A corner point can connect any two straight or curved segments, while a smooth point always connects two curved segments. A corner point can connect both straight segments and curved segments. Note: Don’t confuse corner and smooth points with straight and curved segments. A path’s outline is called a stroke.
USING ADOBE ILLUSTRATOR CS4 55 Drawing A smooth point always has two direction lines, which move together as a single, straight unit. When you move a direction line on a smooth point, the curved segments on both sides of the point are adjusted simultaneously, maintaining a continuous curve at that anchor point. In comparison, a corner point can have two, one, or no direction lines, depending on whether it joins two, one, or no curved segments, respectively.
USING ADOBE ILLUSTRATOR CS4 56 Drawing 2 In the Control panel, click Show Handles For Multiple Selected Anchor Points Selected Anchor Points > or Hide Handles For Multiple . Note: You can also set a preference to always show or always hide handles when multiple anchor points are selected. Set direction point and direction line display preferences 1 Choose Edit > Preferences > Selection & Anchor Display (Windows) or Illustrator > Preferences > Selection & Anchor Display (Mac OS).
USING ADOBE ILLUSTRATOR CS4 57 Drawing See also “Drawing tool gallery” on page 23 “Keys for drawing” on page 466 Draw rectangles and squares 1 Select the Rectangle tool or the Rounded Rectangle tool . 2 Do one of the following: • To draw a rectangle, drag diagonally until the rectangle is the desired size. • To draw a square, hold down the Shift key while you drag diagonally until the square is the desired size.
USING ADOBE ILLUSTRATOR CS4 58 Drawing See also “Drawing tool gallery” on page 23 “Keys for drawing” on page 466 Draw polygons 1 Select the Polygon tool . 2 Do one of the following: • Drag until the polygon is the desired size. Drag the pointer in an arc to rotate the polygon. Press the Up Arrow and Down Arrow keys to add and remove sides from the polygon. • Click where you want the center of the polygon to be. Specify a radius and number of sides for the polygon, and click OK.
USING ADOBE ILLUSTRATOR CS4 59 Drawing Length Y-Axis Specifies 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. Choose X Axis or Y Axis depending on whether you want to draw the base of the arc along the horizontal (x) axis or vertical (y) axis. Slope Specifies the direction of the arc’s slope. Enter a negative value for a concave (inward) slope. Enter a positive value for a convex (outward) slope.
USING ADOBE ILLUSTRATOR CS4 60 Drawing Draw rectangular grids 1 Select the Rectangular Grid tool . 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 Size Specifies the width and height of the entire grid.
USING ADOBE ILLUSTRATOR CS4 61 Drawing 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. The number of anchor points set down is determined by the length and complexity of the path and by tolerance settings in the Pencil Tool Preferences dialog box. These settings control how sensitive the Pencil tool is to the movement of your mouse or graphics-tablet stylus.
USING ADOBE ILLUSTRATOR CS4 62 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.
USING ADOBE ILLUSTRATOR CS4 63 Drawing Drawing with the Pen tool Draw straight line segments with the Pen tool The simplest path you can draw with the Pen tool is a straight line, made by clicking the Pen tool to create two anchor points. By continuing to click, you create a path made of straight line segments connected by corner points. Clicking Pen tool creates straight segments. 1 Select the Pen tool.
USING ADOBE ILLUSTRATOR CS4 64 Drawing The first anchor point appears, and the Pen tool pointer changes to an arrowhead. (In Photoshop, the pointer changes only after you’ve started dragging.) 3 Drag to set the slope of the curve segment you’re creating, and then release the mouse button. In general, extend the direction line about one third of the distance to the next anchor point you plan to draw. (You can adjust one or both sides of the direction line later.
USING ADOBE ILLUSTRATOR CS4 65 Drawing 5 Continue dragging the Pen tool from different locations to create a series of smooth curves. Note that you are placing anchor points at the beginning and end of each curve, not at the tip of the curve. Alt-drag (Windows) or Option-drag (Mac OS) direction lines to break out the direction lines of an anchor point. 6 Complete the path by doing one of the following: • To close the path, position the Pen tool over the first (hollow) anchor point.
USING ADOBE ILLUSTRATOR CS4 66 Drawing A B C Drawing a straight segment followed by a curved segment (part 1) A. Straight segment completed B. Positioning Pen tool over endpoint (the Convert Point icon appears only in Illustrator and InDesign) C. Dragging direction point 3 Position the pen where you want the next anchor point; then click (and drag, if desired) the new anchor point to complete the curve. A B C Drawing a straight segment followed by a curved segment (part 2) A.
USING ADOBE ILLUSTRATOR CS4 67 Drawing D C E Drawing a curved segment followed by a straight segment (part 2) C. Positioning Pen tool over existing endpoint D. Clicking endpoint E. Clicking next corner point Draw two curved segments connected by a corner 1 Using the Pen tool, drag to create the first smooth point of a curved segment.
USING ADOBE ILLUSTRATOR CS4 68 Drawing • (Illustrator only) Select the Lasso tool, and drag around the anchor points. Shift-drag around additional anchor points to select them. Select path segments Do any of the following: • Select the Direct Selection tool , and click within 2 pixels of the segment, or drag a marquee over part of the segment. Shift-click or Shift-drag around additional path segments to select them. • (Illustrator only) Select the Lasso tool , and drag around part of the path segment.
USING ADOBE ILLUSTRATOR CS4 69 Drawing 2 Drag the anchor point to the desired position. Shift-drag to constrain the adjustment to multiples of 45°. In Illustrator or InDesign, if you’re simply trying to make a rectangle wider or narrower, it’s easier to select it with the Selection tool and resize it using one of the handles on the sides of its bounding box.
USING ADOBE ILLUSTRATOR CS4 70 Drawing • To create a smooth point, position the Pen tool where you want to end the new curved segment, and drag. Connect two open paths 1 Using the Pen tool, position the pointer over the endpoint of the open path that you want to connect to another path. The pointer changes when it’s precisely positioned over the endpoint. 2 Click the endpoint. 3 Do one of the following: • To connect the path to another open path, click an endpoint on the other path.
USING ADOBE ILLUSTRATOR CS4 71 Drawing 2 Select the Reshape tool (located under the Scale tool ). 3 Position the cursor over the anchor point or path segment that you want to act as a focal point (that is, a point that pulls selected path segments), and click. If you click a path segment, a highlighted anchor point with a square around it is added to the path. 4 Shift-click more anchor points or path segments to act as focal points.
USING ADOBE ILLUSTRATOR CS4 72 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.
USING ADOBE ILLUSTRATOR CS4 73 Drawing 2 Choose Object > Path > Simplify. 3 Set the Curve Precision to control how closely the simplified path follows the original path. Select Preview to show a preview of the simplified path and list the number of points in the original and simplified paths. 4 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.
USING ADOBE ILLUSTRATOR CS4 74 Drawing 3 Position the Convert Anchor Point tool over the anchor point you want to convert, and do one of the following: • To convert a corner point to a smooth point, drag a direction point out of the corner point. Dragging a direction point out of a corner point to create a smooth point • To convert a smooth point to a corner point without direction lines, click the smooth point.
USING ADOBE ILLUSTRATOR CS4 75 Drawing Using the Path Eraser tool to erase portions of a path (left), using the Eraser tool to erase part of a grouped object (right) For a video on using the Eraser tool, see www.adobe.com/go/vid0036. See also “Drawing tool gallery” on page 23 “Keys for editing shapes” on page 468 Erase part of a path using the Path Eraser tool 1 Select the object. 2 Select the Path Eraser tool . 3 Drag the tool along the length of the path segment you want to erase.
USING ADOBE ILLUSTRATOR CS4 76 Drawing Eraser tool options You can change the Eraser tool options by double-clicking the tool in the Tools panel. Note: You can change the diameter at any time by pressing ] to enlarge or [ to reduce. Angle Determines the angle of rotation for the tool. Drag the arrowhead in the preview, or enter a value in the Angle text box. Roundness Determines roundness of the tool.
USING ADOBE ILLUSTRATOR CS4 77 Drawing • Select the anchor point where you want to split the path, and then click the Cut Path At Selected Anchor Points in the Control panel. When you split the path at an anchor point, a new anchor point appears on top button of the original anchor point, and one anchor point is selected. 3 Use the Direct Selection tool to adjust the new anchor point or path segment.
USING ADOBE ILLUSTRATOR CS4 78 Drawing 4 (Optional) Convert the tracing to paths or to a Live Paint object. Manually trace artwork using template layers Template layers are locked, nonprinting layers that you can use to manually trace images. Template layers are dimmed by 50% so you can easily see any paths you draw in front of the layer. You can create template layers when you place an image or from existing layers.
USING ADOBE ILLUSTRATOR CS4 79 Drawing 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. Lower values create a tighter path fitting; higher values create a looser path fitting. Minimum Area Specifies the smallest feature in the original image that will be traced.
USING ADOBE ILLUSTRATOR CS4 80 Drawing 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. Alternatively, choose Object > Live Trace > Tracing Options. 3 Select the swatch library name from the Palette menu, and click Trace.
USING ADOBE ILLUSTRATOR CS4 81 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.
USING ADOBE ILLUSTRATOR CS4 82 Drawing Note: For information on using symbols in Flash, see Flash Help. For a video on using symbols effectively between Illustrator and Flash, see www.adobe.com/go/vid0198. After you place a symbol, you can edit the symbol’s instances on the artboard and, if you want, redefine the original symbol with the edits. The symbolism tools let you add and manipulate multiple symbol instances at once.
USING ADOBE ILLUSTRATOR CS4 83 Drawing Rename a symbol 1 To rename the symbol, select the symbol in the Symbols panel, choose Symbol Options from the panel menu, and then type a new name in the Symbol Options dialog box. 2 To rename a symbol instance, select a symbol instance in the artwork, and then type a new name in the Instance Name text box in the Control panel. Place a symbol 1 Select a symbol in the Symbols panel or a symbol library.
USING ADOBE ILLUSTRATOR CS4 84 Drawing Use 9-slice scaling You can use 9-slice scaling (scale-9) to specify component-style scaling for movie clip symbols destined for export to Flash. 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.
USING ADOBE ILLUSTRATOR CS4 85 Drawing 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. 2 Click the Break Link To Symbol button in the Symbols panel or Control panel. 3 Edit the artwork.
USING ADOBE ILLUSTRATOR CS4 86 Drawing Edit or redefine a symbol You can edit a symbol by changing the symbol’s artwork or you can redefine the symbol by replacing it with new artwork. Editing and redefining a symbol changes the appearance of the symbol in the Symbols panel, as well as all instances of the symbol on the artboard. Edit a symbol 1 Do one of the following to open the symbol in isolation mode: • Select an instance of the symbol and click Edit Symbol in the Control panel.
USING ADOBE ILLUSTRATOR CS4 87 Drawing To select all symbols that aren’t used in a document, choose Select All Unused from the Symbols panel menu. 2 Choose Save Symbol Library from the Symbols panel menu. 3 Save the new library to the default Symbols folder. The library name will automatically appear in the User Defined submenu of the Symbol Libraries and Open Symbol Library menu.
USING ADOBE ILLUSTRATOR CS4 88 Drawing Create symbol sets The Symbol Sprayer acts like a particle sprayer—letting you add a large number of identical objects to the artboard at one time. For example, use the symbol sprayer to add hundreds of grass blades, wildflowers, bees, or snowflakes. See also “Symbolism tool gallery” on page 27 “Symbolism tool options” on page 90 Spray sets of symbol instances onto artwork 1 Select a symbol in the Symbols panel, and then select the Symbol Sprayer tool .
USING ADOBE ILLUSTRATOR CS4 89 Drawing 2 Do one of the following: • Click or drag in the area where you want to pull the symbol instances toward each other. • Hold down Alt (Windows) or Option (Mac OS), and click or drag in the area where you want to push symbol instances away from each other. Resize symbol instances 1 Select the Symbol Sizer tool . 2 Do one of the following: • Click or drag in the set where you want to increase the size of the symbol instances.
USING ADOBE ILLUSTRATOR CS4 90 Drawing Apply a graphic style to symbol instances The Symbol Styler tool lets you apply or remove a graphic style from a symbol instance. You can control the amount and location of the application. For example, you can apply a style gradually so that some symbol instances display the style at full strength and others display the style at partial strength.
USING ADOBE ILLUSTRATOR CS4 91 Drawing • Intensity Specifies the rate of change (higher values equal faster changes), or select Use Pressure Pen to use the input from a tablet or pen instead of the Intensity value. • Symbol Set Density Specifies an attraction value for the symbol set (higher values result in more densely packed symbol instances). This setting applies to an entire symbol set.
USING ADOBE ILLUSTRATOR CS4 92 Drawing A C B D E Components of a flare A. Center handle B. End handle C. Rays (shown black for clarity) D. Halo E. Rings See also “Drawing tool gallery” on page 23 Create a default flare 1 Select the Flare tool . 2 Press Alt (Windows) or Option (Mac OS), and click where you want the center handle of the flare to appear. Flares often look best when drawn over existing objects. Draw a flare 1 Select the Flare tool.
USING ADOBE ILLUSTRATOR CS4 93 Drawing • If you want the flare to contain rings, select Rings and specify the distance of the path between the halo’s center point (center handle) and the center point of the furthest ring (end handle), the number of rings, the largest ring (as a percentage of the average ring), and the direction or angle of the rings. Edit a flare Do any of the following: • Select the flare, and double-click the Flare tool icon to open the Flare Tool Options dialog box.
94 Chapter 4: 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.
USING ADOBE ILLUSTRATOR CS4 95 Color G R B Additive colors (RGB) R. Red G. Green B. Blue You can work with color values using the RGB color mode, which is based on the RGB color model. In RGB mode, each of the RGB components can use a value ranging from 0 (black) to 255 (white). For example, a bright red color might have an R value of 246, a G value of 20, and a B value of 50. When the values of all three components are equal, the result is a shade of gray.
USING ADOBE ILLUSTRATOR CS4 96 Color 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.
USING ADOBE ILLUSTRATOR CS4 97 Color In Illustrator, you can use the Lab model to create, display, and output spot color swatches. However, you cannot create documents in Lab mode. See also “Display and output spot colors using Lab values” on page 127 Grayscale Grayscale uses tints of black to represent an object. Every grayscale object has a brightness value ranging from 0% (white) to 100% (black). Images produced using black-and-white or grayscale scanners are typically displayed in grayscale.
USING ADOBE ILLUSTRATOR CS4 98 Color About spot and process colors You can designate colors as either spot or process color types, which correspond to the two main ink types used in commercial printing. In the Swatches panel, you can identify the color type of a color using icons that appear next to the name of the color. When applying color to paths and frames, keep in mind the final medium in which the artwork will be published, so that you apply color using the most appropriate color mode.
USING ADOBE ILLUSTRATOR CS4 99 Color • Don’t specify a process color based on how it looks on your monitor, unless you are sure you have set up a colormanagement system properly, and you understand its limitations for previewing color. • Avoid using process colors in documents intended for online viewing only, because CMYK has a smaller color gamut than that of a typical monitor. • Illustrator and InDesign let you specify a process color as either global or non-global.
USING ADOBE ILLUSTRATOR CS4 100 Color You can use any of the following features for selecting color: Swatches panel and swatch library panels Provide individual colors and color groups. You can choose from preexisting swatches and libraries or create your own. You can also import libraries. Color Picker Provides a color spectrum from which you can visually select colors, color value text boxes for manually defining colors, and color swatches.
USING ADOBE ILLUSTRATOR CS4 101 Color A E F B CD G H I Color Picker A. Color field B. HSB color values C. New color rectangle D. Original color rectangle E. Color slider F. Color spectrum G. RGB color values H. Hexadecimal color value I. CMYK color values See also “About colors in digital graphics” on page 94 Display the Color Picker ❖ Double-click the fill or stroke color selection box in the Tools panel or Color panel.
USING ADOBE ILLUSTRATOR CS4 102 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. AB D C E F G Color panel A. Fill color B. Stroke color C. panel menu D. None box E. Color spectrum bar F. Color slider G.
USING ADOBE ILLUSTRATOR CS4 103 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.
USING ADOBE ILLUSTRATOR CS4 104 Color A B C D E F G H I J K Swatches panel in Small List view A. Spot color B. Global color C. Fill or stroke of None D. Registration swatch (prints on all plates) E. CMYK symbol (when document is open in CMYK mode) F. RGB symbol (when document is open in RGB mode) G. Swatch Library Menu button H. Show Swatch Kinds Menu button I. Swatch Options button J. New Color Group button K.
USING ADOBE ILLUSTRATOR CS4 105 Color Move swatches into a color group 1 Drag individual color swatches to an existing color group folder. 2 Select the colors you want in a new color group and click the New Color Group button . 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 By Name or Sort By Kind from the Swatches panel menu.
USING ADOBE ILLUSTRATOR CS4 106 Color Edit a swatch library 1 Choose File > Open, locate and open the library file. By default, swatch library files are stored in the Illustrator/Presets/Swatches folder. 2 Edit the colors in the Swatches panel and save your changes. Move swatches from a swatch library to the Swatches panel Do any of the following: • Drag one or more swatches from the swatch library panel to the Swatches panel.
USING ADOBE ILLUSTRATOR CS4 107 Color Note: You can create and share color group swatches by using the Kuler panel or the Kuler website. (See “Kuler panel” on page 124.) 1 In the Swatches panel, create the process and spot-color swatches you want to share, and remove any swatches you don’t want to share.
USING ADOBE ILLUSTRATOR CS4 108 Color 2 Do one of the following: • Drag the color from the Tools panel or Color panel to the Swatches panel. • In the Swatches panel, click the New Swatch button or select New Swatch from the panel menu. In the dialog box that appears, select Global if you want the swatch to be a global color. Set additional swatch options, and click OK. (See “Swatch options” on page 109.
USING ADOBE ILLUSTRATOR CS4 109 Color Group swatches When you want to keep specific colors together in the Swatches panel, create a color group. For example, you can create a color group for colors you select in the Color Guide panel. When you save a color group in the Edit Colors dialog box, it is automatically saved as a color group in the Swatches panel. You can also manually group any set of solid color swatches. 1 Select one or more swatches in the Swatches panel.
USING ADOBE ILLUSTRATOR CS4 110 Color You can use the Color Guide panel or the Edit Colors/Recolor Artwork dialog box to create harmonious color groups. Using either feature, you can choose a harmony rule to instantly generate a color scheme based on any color you want. For example, choose the Monochromatic harmony rule to create a color group containing all the same hue, but with different saturation levels.
USING ADOBE ILLUSTRATOR CS4 111 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.
USING ADOBE ILLUSTRATOR CS4 112 Color A B C Create or edit color groups, and assign colors using the Edit Colors/Recolor Artwork dialog box. A. Create and edit a color group in the Edit tab B. Assign colors in the Assign tab C. Select a color group from the Color Groups list The Recolor Art option at the bottom of the dialog box lets you preview colors on selected artwork, and specifies whether artwork is recolored when you close the dialog box.
USING ADOBE ILLUSTRATOR CS4 113 Color Open the Edit Colors/Recolor Artwork dialog box ❖ Open the Edit Colors/Recolor Artwork dialog box from any of the following locations: Edit > Edit Colors > Recolor Artwork or Recolor With Presets command Use these commands when you want to edit colors in selected artwork. in Control panel Use this button when you want to edit the colors of the selected artwork using the Recolor Artwork dialog box.
USING ADOBE ILLUSTRATOR CS4 114 Color • Double-click the Fill Color in the Tools panel and pick a color in the Color Picker. • Using the eyedropper, click artwork containing the color you want. • Select artwork containing the color you want, and then click the Set Base Color To The Current Color icon . • 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.
USING ADOBE ILLUSTRATOR CS4 115 Color Note: Recolor Art will recolor selected artwork when you click OK to close the dialog box. If you don’t want to recolor the selected art, make sure to deselect this option before clicking OK. 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 .
USING ADOBE ILLUSTRATOR CS4 116 Color For a video on creating, editing, and experimenting with color groups, see www.adobe.com/go/lrvid4019_ai. To see an example of changing a vibrant color illustration to a grayscale illustration, see www.adobe.com/go/learn_ai_tutorials_depth_en. A B C D E F G A. Base color as it appears in Harmony Rules menu B. Base color as it appears in color wheel C. Color display options D. Color of selected color marker or color bar E. Show saturation and hue on Wheel F.
USING ADOBE ILLUSTRATOR CS4 117 Color 5 Drag a marker on the wheel to change its color. If the harmony is linked, all the colors move according to the rule as you drag. If the harmony is unlinked, only the marker that you drag moves. While editing, you can do any of the following: a To change hue, move the marker around the wheel. To change saturation or brightness, move it inward and outward on the wheel.
USING ADOBE ILLUSTRATOR CS4 118 Color B A D C E F A. Color wheel view of linked colors B. Color wheel view of unlinked colors C. Color bars view of linked colors D. Color bars view of unlinked colors E. Colors linked, click to unlink F. Colors unlinked, click to relink 1 In the Edit Colors/Recolor Artwork dialog box, select the color group you want to edit and click Edit. 2 Click the Unlink Harmony Colors icon .
USING ADOBE ILLUSTRATOR CS4 119 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.
USING ADOBE ILLUSTRATOR CS4 120 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.
USING ADOBE ILLUSTRATOR CS4 121 Color A B C D E F 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.
USING ADOBE ILLUSTRATOR CS4 122 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 between the columns.
USING ADOBE ILLUSTRATOR CS4 123 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.
USING ADOBE ILLUSTRATOR CS4 124 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.
USING ADOBE ILLUSTRATOR CS4 125 Color View and use themes An Internet connection is required to browse themes online. Search and view themes 1 Select Window > Extensions > Kuler. 2 In the Search box, enter the name of a theme, a tag, or a creator. Note: Use only alphanumerical characters (Aa-Zz, 0-9) in searches. 3 Filter the search results by selecting an option from the pop-up menus above the results.
USING ADOBE ILLUSTRATOR CS4 126 Color Shift a color to a web-safe color Web-safe colors are the 216 colors used by all browsers, regardless of the platform. If you select a color that is not webappears in the Color panel, Color Picker, or Edit Colors/Recolor Artwork dialog box. safe, an alert cube ❖ Click the cube to shift to the closest web-safe color (which is displayed in a small box by the cube).
USING ADOBE ILLUSTRATOR CS4 127 Color 3 To save the tint as a swatch, drag the color to the Swatches panel, or click the New Swatch button in the Swatches panel. The tint is saved with the same name as the base color, but with the tint percentage added to the name. For example, if you saved a color named “Sky Blue” at 50 percent, the swatch name would be “Sky Blue 50%.
USING ADOBE ILLUSTRATOR CS4 128 Color Lab values, when used in conjunction with the correct device profiles, give you the most accurate output across all devices. If color management is critical to your project, Adobe recommends that you display, export, and print spot colors using their Lab values. Note: To improve on-screen accuracy, Illustrator uses the Lab values automatically if Overprint Preview is on.
USING ADOBE ILLUSTRATOR CS4 129 Color 3 Enter a value from –100% to 100% to specify the percentage by which to decrease or increase the color or the spot- color tint. See also “HSB” on page 96 Mix overlapping colors You can use blending modes, the Hard Mix effect, or the Soft Mix effect to mix overlapping colors.
130 Chapter 5: Color management A color management system reconciles color differences among devices so that you can be reasonably certain of the colors your system ultimately produces. Viewing color accurately allows you to make sound color decisions throughout your workflow, from digital capture through final output. Color management also allows you to create output based on ISO, SWOP, and Japan Color print production standards.
USING ADOBE ILLUSTRATOR CS4 131 Color management A color management system translates colors with the help of color profiles. A profile is a mathematical description of a device’s color space. For example, a scanner profile tells a color management system how your scanner “sees” colors. Adobe color management uses ICC profiles, a format defined by the International Color Consortium (ICC) as a crossplatform standard.
USING ADOBE ILLUSTRATOR CS4 132 Color management Creating a viewing environment for color management Your work environment influences how you see color on your monitor and on printed output. For best results, control the colors and light in your work environment by doing the following: • View your documents in an environment that provides a consistent light level and color temperature.
USING ADOBE ILLUSTRATOR CS4 133 Color management If you decide to change the default settings, easy-to-use presets let you configure Adobe color management to match common output conditions. You can also customize color settings to meet the demands of your particular color workflow. Keep in mind that the kinds of images you work with and your output requirements influence how you use color management.
USING ADOBE ILLUSTRATOR CS4 134 Color management 6. Use color management when printing and saving files. Keeping the appearance of colors consistent across all of the devices in your workflow is the goal of color management. Leave color management options enabled when printing documents, saving files, and preparing files for online viewing. (See “Printing with color management” on page 141 and “Color-managing documents for online viewing” on page 137.
USING ADOBE ILLUSTRATOR CS4 135 Color management Change the appearance of CMYK black (Illustrator, InDesign) Pure CMYK black (K=100) appears jet black (or rich black) when viewed on-screen, printed to a non-PostScript desktop printer, or exported to an RGB file format. If you prefer to see the difference between pure black and rich black as it will appear when printed on a commercial press, you can change the Appearance Of Black preferences. These preferences do not change the color values in a document.
USING ADOBE ILLUSTRATOR CS4 136 Color management Color-managing imported images Color-managing imported images (Illustrator, InDesign) How imported images are integrated into a document’s color space depends on whether or not the image has an embedded profile: • When you import an image that contains no profile, the Adobe application uses the current document profile to define the colors in the image.
USING ADOBE ILLUSTRATOR CS4 137 Color management View or change profiles for imported bitmap images (InDesign) InDesign allows you to view, override, or disable profiles for imported bitmap images. This may be necessary when you are importing an image containing no profile or an incorrectly embedded profile. For example, if the scanner manufacturer’s default profile was embedded but you have since generated a custom profile, you can assign the newer profile.
USING ADOBE ILLUSTRATOR CS4 138 Color management Color-managing PDFs for online viewing When you export PDFs, you can choose to embed profiles. PDFs with embedded profiles reproduce color consistently in Acrobat 4.0 or later running under a properly configured color management system. Keep in mind that embedding color profiles increases the size of PDFs. RGB profiles are usually small (around 3 KB); however, CMYK profiles can range from 0.5 to 2 MB.
USING ADOBE ILLUSTRATOR CS4 139 Color management Soft-proof colors 1 Choose View > Proof Setup, and do one of the following: • Choose a preset that corresponds to the output condition you want to simulate. • Choose Custom (Photoshop and InDesign) or Customize (Illustrator) to create a custom proof setup for a specific output condition. This option is recommended for the most accurate preview of your final printed piece. 2 Choose View > Proof Colors to toggle the soft-proof display on and off.
USING ADOBE ILLUSTRATOR CS4 140 Color management Simulate Black Ink Simulates the dark gray you really get instead of a solid black on many printers, according to the proof profile. Not all profiles support this option. In Photoshop, if you want the custom proof setup to be the default proof setup for documents, close all document windows before choosing the View > Proof Setup > Custom command.
USING ADOBE ILLUSTRATOR CS4 141 Color management Save or load a custom proof setup 1 Choose View > Proof Setup > Custom. 2 Do either of the following: • To save a custom proof setup, click Save. To ensure that the new preset appears in the View > Proof Setup menu, save the preset in the default location. • To load a custom proof setup, click Load. Soft-proof colors (Acrobat) 1 Choose Advanced > Print Production > Output Preview.
USING ADOBE ILLUSTRATOR CS4 142 Color management If you select a PostScript printer, you can take advantage of PostScript color management. PostScript color management makes it possible to perform color composite output or color separations at the raster image processor (RIP)—a process called in-RIP separations—so that a program need only specify parameters for separation and let the device calculate the final color values.
USING ADOBE ILLUSTRATOR CS4 143 Color management In general, you have the following choices for handling colors when creating PDFs: • (PDF/X-3) Does not convert colors. Use this method when creating a document that will be printed or displayed on various or unknown devices. When you select a PDF/X-3 standard, color profiles are automatically embedded in the PDF. • (PDF/X-1a) Converts all colors to the destination CMYK color space.
USING ADOBE ILLUSTRATOR CS4 144 Color management Document profiles Define the specific RGB or CMYK color space of a document. By assigning, or tagging, a document with a profile, the application provides a definition of actual color appearances in the document. For example, R=127, G=12, B=107 is just a set of numbers that different devices will display differently.
USING ADOBE ILLUSTRATOR CS4 145 Color management Gamma The brightness of the midtone values. The values produced by a monitor from black to white are nonlinear— if you graph the values, they form a curve, not a straight line. Gamma defines the value of that curve halfway between black and white. Phosphors The substances that CRT monitors use to emit light. Different phosphors have different color characteristics. White point The color and intensity of the brightest white the monitor can reproduce.
USING ADOBE ILLUSTRATOR CS4 146 Color management Embed a color profile To embed a color profile in a document you created in Illustrator, InDesign, or Photoshop, you must save or export the document in a format that supports ICC profiles. 1 Save or export the document in one of the following file formats: Adobe PDF, PSD (Photoshop), AI (Illustrator), INDD (InDesign), JPEG, Photoshop EPS, Large Document Format, or TIFF. 2 Select the option for embedding ICC profiles.
USING ADOBE ILLUSTRATOR CS4 147 Color management 2 For RGB Profile and CMYK Profile, select one of the following: Discard (Use Current Working Space) Removes the existing profile from the document. Select this option only if you are sure that you do not want to color-manage the document. After you remove the profile from a document, the appearance of colors is defined by the application’s working space profiles, and you can no longer embed a profile in the document.
USING ADOBE ILLUSTRATOR CS4 148 Color management 2 Click Advanced. The following additional ICC profile types are available under Destination Space: Multichannel Profiles that support more than four color channels. These are useful when printing with more than four inks. Device Link Profiles that transform from one device color space to another, without using an intermediate color space in the process. These are useful when specific mappings of device values (like 100% black) are required.
USING ADOBE ILLUSTRATOR CS4 149 Color management A working space profile acts as the source profile for newly created documents that use the associated color model. For example, if Adobe RGB (1998) is the current RGB working space profile, each new RGB document that you create will use colors within the Adobe RGB (1998) gamut. Working spaces also determine the appearance of colors in untagged documents.
USING ADOBE ILLUSTRATOR CS4 150 Color management About missing and mismatched color profiles For a newly created document, the color workflow usually operates seamlessly: Unless specified otherwise, the document uses the working space profile associated with its color mode for creating and editing colors. However, some existing documents may not use the working space profile that you have specified, and some existing documents may not be color-managed.
USING ADOBE ILLUSTRATOR CS4 151 Color management view colors accurately in Adobe applications. Select this option if you want to use a safe CMYK workflow. In InDesign, you can override this policy on a per-object basis by choosing Object > Image Color Settings. • Off Ignores embedded color profiles when opening files and importing images, and does not assign the working space profile to new documents. Select this option if you want to discard any color metadata provided by the original document creator.
USING ADOBE ILLUSTRATOR CS4 152 Color management About rendering intents A rendering intent determines how a color management system handles color conversion from one color space to another. Different rendering intents use different rules to determine how the source colors are adjusted; for example, colors that fall inside the destination gamut may remain unchanged, or they may be adjusted to preserve the original range of visual relationships when translated to a smaller destination gamut.
153 Chapter 6: Painting To help you add visual interest to your artwork, Adobe Illustrator provides calligraphic, scatter, art, and pattern brushes. In addition, you can use the Live Paint feature, to paint different path segments and fill enclosed paths with different colors, patterns, or gradients. Using opacity, masks, gradients, blends, meshes, and patterns provides limitless opportunities for creativity.
USING ADOBE ILLUSTRATOR CS4 154 Painting Painting an object the traditional way leaves some areas that cannot be filled (left). Painting a Live Paint group with gap detection (center) lets you avoid gaps and overprinting (right). For a video on using Live Paint, see www.adobe.com/go/vid0042. For a video on painting techniques with the Paintbrush tool, see www.adobe.com/go/vid0038. See also “About Live Paint” on page 161 About fills and strokes A fill is a color, pattern, or gradient inside an object.
USING ADOBE ILLUSTRATOR CS4 155 Painting Default Fill And Stroke button Color button Click to apply the last-selected solid color to an object with a gradient fill or no stroke or fill. Click to change the currently selected fill to the last-selected gradient. Gradient button None button Click to return to the default color settings (white fill and black stroke). Click to remove the selected object’s fill or stroke.
USING ADOBE ILLUSTRATOR CS4 156 Painting Stroke panel with options showing 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. See also “Workspace overview” on page 10 “Select items in Live Paint groups” on page 164 “Paint with the Live Paint Bucket tool” on page 167 Apply a stroke color, width, or alignment 1 Select the object. (To select an edge in a Live Paint group, use the Live Paint Selection tool.
USING ADOBE ILLUSTRATOR CS4 157 Painting 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 Specify a dash sequence by entering the lengths of dashes and the gaps between them. The numbers entered are repeated in sequence so that once you have established the pattern, you don’t need to fill in all the text boxes. 4 Select a cap option to change the ends of the dashes.
USING ADOBE ILLUSTRATOR CS4 158 Painting Path created with a Calligraphy brush (left); path created with the Blob Brush tool (right) To see a video on using the Blob Brush tool, see www.adobe.com/go/lrvid4018_ai. To see an example of using the Blob Brush to create a complex drawing, see www.adobe.com/go/learn_ai_tutorials_blob_brush_en.
USING ADOBE ILLUSTRATOR CS4 159 Painting Selection Limits Merge Specifies that if artwork is selected, the Blob Brush merges only with the selected artwork. If nothing is selected, the Blob Brush merges with any matching artwork. Fidelity Controls how far you have to move your mouse or stylus before Illustrator adds a new anchor point to the path. For example, a Fidelity value of 2.5 means that tool movements of less than 2.5 pixels aren’t registered. Fidelity can range from 0.
USING ADOBE ILLUSTRATOR CS4 160 Painting See also “Targeting items for appearance attributes” on page 350 “About effects” on page 354 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.
USING ADOBE ILLUSTRATOR CS4 161 Painting Create multiple fills and strokes You use the Appearance panel to create multiple fills and strokes for the same object. Adding multiple fills and strokes to an object is the basis for creating many interesting effects. For example, you can create a second, narrower stroke on top of a wide stroke, or you can apply an effect to one fill but not the other. 1 Select one or more objects or groups (or target a layer in the Layers panel).
USING ADOBE ILLUSTRATOR CS4 162 Painting The paintable parts of Live Paint groups are called edges and faces. An edge is the portion of a path between where it intersects with other paths. A face is the area enclosed by one or more edges. You can stroke edges and fill faces. Take, for example, a circle with a line drawn across it. As a Live Paint group, the line (edge) dividing the circle creates two faces in the circle.
USING ADOBE ILLUSTRATOR CS4 163 Painting • Align Stroke options from the Stroke panel • The Magic Wand tool Object commands that don’t work on Live Paint groups • Outline Stroke • Expand (You can use the Object > Live Paint > Expand command instead.
USING ADOBE ILLUSTRATOR CS4 164 Painting Convert objects to Live Paint groups ❖ Do any of the following for objects that do not directly convert to Live Paint groups: • For type objects, choose Type > Create Outlines. Then make the resulting paths into a Live Paint group. • For bitmap images, choose Object > Live Trace > Make And Convert To Live Paint. • For other objects, choose Object > Expand. Then make the resulting paths into a Live Paint group.
USING ADOBE ILLUSTRATOR CS4 165 Painting See also “Isolate artwork for editing” on page 198 Select faces and edges The Live Paint Selection tool pointer changes to the face pointer when it’s positioned over a face, the edge pointer when it’s positioned over an edge, or the x pointer when it’s positioned outside of a Live Paint group. ❖ Select the Live Paint Selection tool, and then: • To select an individual face or edge, click a face or edge.
USING ADOBE ILLUSTRATOR CS4 166 Painting Live Paint group before (left) and after selecting and deleting a path (right) Save the fill and stroke colors used in Live Paint groups in the Swatches panel. That way, if a change loses a color you want to keep, you can select its swatch and use the Live Paint Bucket tool to reapply the fill or stroke.
USING ADOBE ILLUSTRATOR CS4 167 Painting Paint with the Live Paint Bucket tool The Live Paint Bucket tool lets you paint faces and edges of Live Paint groups with the current fill and stroke attributes. The tool pointer displays as either one or three color squares, which represent the selected fill or stroke color and, if you’re using colors from a swatch library, the two colors adjacent to the selected color in the library.
USING ADOBE ILLUSTRATOR CS4 168 Painting Cursor Swatch Preview Displays when you choose a color from the Swatches panel. The Live Paint Bucket tool pointer appears as three color swatches: the selected fill or stroke color plus the color directly to the left and right of it in the Swatches panel. Highlight Outlines the face or edge the cursor is currently over. Faces are highlighted with a thick line and edges are highlighted with a thin line. Color Sets the color for the highlight.
USING ADOBE ILLUSTRATOR CS4 169 Painting • If gap detection is mixed for the selection, gaps are closed and the gap settings of the bottommost Live Paint group are preserved (if gap detection is on for that group). If the bottommost group has gap detection turned off, gap detection is turned on and Paint Stops At is set to Small Gaps. Brushes About brushes Brushes let you stylize the appearance of paths.
USING ADOBE ILLUSTRATOR CS4 170 Painting See also “Draw and merge paths with the Blob Brush tool” on page 157 Brushes panel overview The Brushes panel (Window > Brushes) displays brushes for the current file. Whenever you select a brush in a brush library, it is automatically added to the Brushes panel. Brushes that you create and store in the Brushes panel are associated only with the current file, which means that each Illustrator file can have a different set of brushes in its Brushes panel.
USING ADOBE ILLUSTRATOR CS4 171 Painting Create new brush libraries 1 Add the brushes you want to the Brushes panel, and delete any brushes you don’t want.
USING ADOBE ILLUSTRATOR CS4 172 Painting Smoothness Controls the amount of smoothing that Illustrator applies when you use the tool. Smoothness can range from 0% to 100%; the higher the percentage, the smoother the path. Fill New Brush Strokes Applies a fill to the path. This option is most useful when drawing closed paths. Keep Selected Determines whether Illustrator keeps the path selected after you draw it. Edit Selected Paths Determines whether you can change an existing path with the Paintbrush tool.
USING ADOBE ILLUSTRATOR CS4 173 Painting 4 In the Brush Options dialog box, enter a name for the brush, set brush options, and click OK. Modify a brush • To change the options for a brush, double-click the brush in the Brushes panel. Set the brush options and click OK. If the current document contains brushed paths that use the modified brush, a message appears. Click Apply To Strokes to change pre-existing strokes.
USING ADOBE ILLUSTRATOR CS4 174 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 calligraphic brushes, especially when you’re using the brush like a flat pen. It is available only if you have a graphics tablet that can detect this type of rotation.
USING ADOBE ILLUSTRATOR CS4 175 Painting slider. Pressure uses the Minimum value for the lightest tablet pressure and the Maximum value for the heaviest pressure. When you choose this setting for Diameter, the heavier the stroke, the larger the objects. • Stylus Wheel Creates a brush that varies in diameter based on manipulation of the stylus wheel. This option is available only if you have a graphics tablet that has a stylus wheel on its barrel and can detect input from that pen.
USING ADOBE ILLUSTRATOR CS4 176 Painting D C A B C B A D E E Tiles in a pattern brush A. Side tile B. Outer Corner tile C. Inner Corner tile D. Start tile E. End tile Flip Along or Flip Across Changes the orientation of the pattern in relation to the line. Fit Determines how the pattern fits on the path: Stretch To Fit lengthens or shortens the pattern tile to fit the object. This option can result in uneven tiling.
USING ADOBE ILLUSTRATOR CS4 177 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.
USING ADOBE ILLUSTRATOR CS4 178 Painting Note: You can also change the artboard color to simulate what your artwork will look like if printed on colored paper. Change the opacity of artwork You can change the opacity of a single object, the opacity of all objects in a group or layer, or the opacity of an object’s fill or stroke. 1 Select an object or group (or target a layer in the Layers panel).
USING ADOBE ILLUSTRATOR CS4 179 Painting 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). Use the neutral option when you want to group artwork without interfering with the knockout behavior determined by the enclosing layer or group.
USING ADOBE ILLUSTRATOR CS4 180 Painting You can move masks between Photoshop and Illustrator. Opacity masks in Illustrator convert to layer masks in Photoshop, and vice versa. Note: You cannot enter isolation mode when working in mask-editing mode, or vice versa. For a video on working with opacity masks, see www.adobe.com/go/vid0056.
USING ADOBE ILLUSTRATOR CS4 181 Painting Deactivate or reactivate an opacity mask You can deactivate a mask to remove the transparency it creates. • To deactivate a mask, target the masked artwork in the Layers panel, and then Shift-click the masking object’s thumbnail (right thumbnail) in the Transparency panel. Alternatively, select Disable Opacity Mask from the Transparency panel menu. When the opacity mask is deactivated, a red x appears over the mask thumbnail in the Transparency panel.
USING ADOBE ILLUSTRATOR CS4 182 Painting A C B Knocking out shapes using a bitmap object A. Original artwork B. Darken blending mode applied to the word “PEARS”, and Group option selected C. Opacity & Mask Define Knockout shape option applied to word See also “Printing and saving transparent artwork” on page 421 “Targeting items for appearance attributes” on page 350 About blending modes Blending modes let you vary the ways that the colors of objects blend with the colors of underlying objects.
USING ADOBE ILLUSTRATOR CS4 183 Painting For a video on working with blending modes, see www.adobe.com/go/vid0055. To see an example of how blending modes and gradients can be used to create comic book-inspired characters with depth and color, see www.adobe.com/go/learn_ai_tutorials_blendingmode_en and www.adobe.com/go/learn_ai_tutorials_depth_en. Illustrator provides the following blending modes: Normal Paints the selection with the blend color, without interaction with the base color.
USING ADOBE ILLUSTRATOR CS4 184 Painting Luminosity Creates a resulting color with the hue and saturation of the base color and the luminance of the blend color. This mode creates an inverse effect from that of the Color mode. Note: The Difference, Exclusion, Hue, Saturation, Color, and Luminosity modes do not blend spot colors—and with most blending modes, a black designated as 100% K knocks out the color on the underlying layer. Instead of 100% black, specify a rich black using CMYK values.
USING ADOBE ILLUSTRATOR CS4 185 Painting To see examples of using gradients, see www.adobe.com/go/learn_ai_tutorials_gradients_en and www.adobe.com/go/learn_ai_tutorials_elliptical_gradients_en and www.adobe.com/go/learn_ai_tutorials_depth_en. To see an example of using gradients and blending modes, see the tutorial at www.adobe.com/go/learn_ai_tutorials_blendingmode_en.
USING ADOBE ILLUSTRATOR CS4 186 Painting 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. When you select a gradient filled object and select the Gradient tool, a gradient annotator appears in the object.
USING ADOBE ILLUSTRATOR CS4 187 Painting Modify the colors in a gradient 1 Do one of the following: • To modify a gradient without filling an object with it, deselect all objects and double-click the Gradient tool or click the gradient box at the bottom of the Tools panel. • To modify an object’s gradient, select the object, and open the Gradient panel. • To modify a preset gradient, select a gradient from the Gradient menu in the Gradient panel.
USING ADOBE ILLUSTRATOR CS4 188 Painting Change gradient direction, radius, or origin Once you have filled an object with a gradient, you can use the Gradient tool and the gradient annotator (slider) inside the object to modify the gradient by drawing a new fill path. This tool lets you change the direction of a gradient, the origin, and the beginning point and endpoint of a gradient. 1 Select the gradient-filled object.
USING ADOBE ILLUSTRATOR CS4 189 Painting A B C D Diagram of a mesh object A. Mesh line B. Mesh patch C. Mesh point D. Anchor point 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.
USING ADOBE ILLUSTRATOR CS4 190 Painting Convert a gradient-filled object to a mesh object 1 Select the object and choose Object > Expand. 2 Select Gradient Mesh, and click OK. The selected object is converted to a mesh object that takes the shape of the gradient, either circular (radial) or rectangular (linear). Convert a mesh object back to a path object ❖ Select the mesh object, choose Object > Path > Offset Path, and then enter zero for the offset value.
USING ADOBE ILLUSTRATOR CS4 191 Painting Patterns 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).
USING ADOBE ILLUSTRATOR CS4 192 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.
USING ADOBE ILLUSTRATOR CS4 193 Painting Select both objects (left) and drag to create a copy (right). 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.
USING ADOBE ILLUSTRATOR CS4 194 Painting Draw texture on the left side of bounding box (left), and then copy texture and rectangle (right). When the upper left corner point of the copy snaps to the upper right corner point of the bounding box, release the mouse button, and then release the keys. If you know the exact dimensions of the bounding box, you can select only the textures and use the Move command to specify a horizontal move the width of the rectangle.
USING ADOBE ILLUSTRATOR CS4 195 Painting Create corner tiles for brush patterns Corner tiles lend special border effects when applying brush patterns. You can create corner tiles from scratch, or you can use a brush pattern’s side tile as the basis for designing complementary outer and inner (reflected –135°) corner tiles. 1 Choose File > Open, locate a brush pattern file (supplied with Adobe Illustrator) that you want to use, and click Open. 2 Choose Window > Brushes.
USING ADOBE ILLUSTRATOR CS4 196 Painting Copy (left) and move upper right tile over corner tile (right). 9 Edit the corner tile so that its artwork lines up vertically and horizontally with the tiles next to it. Select and delete any portions of the tile that you do not want in the corner, and edit the remaining art to create the final outer corner tile. Deleting unnecessary elements (left) produces a final outer corner tile (right). 10 Select all of the tile parts including the bounding box.
197 Chapter 7: Selecting and arranging objects Organizing and laying out your artwork in Adobe Illustrator is made easy with tools that enable you to select, position, and stack objects precisely. Tools are available that let you measure and align objects; group objects so that they are treated as a single unit; and selectively isolate, lock, or hide objects. Selecting objects Options for selecting objects Before you can modify an object, you need to distinguish it from the objects around it.
USING ADOBE ILLUSTRATOR CS4 198 Selecting and arranging objects Specify selection preferences Selecting paths and points in complex images can be challenging. Using the Selection and Anchor Display preferences, you can specify the tolerance for pixel selection and choose other options that can make selection easier for a particular document. 1 Choose Edit > Preferences > Selection & Anchor Display (Windows) or Illustrator > Preferences > Selection & Anchor Display (Mac OS).
USING ADOBE ILLUSTRATOR CS4 199 Selecting and arranging objects Isolating the pear group. 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.
USING ADOBE ILLUSTRATOR CS4 200 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.
USING ADOBE ILLUSTRATOR CS4 201 Selecting and arranging objects When the Selection tool is over an unselected object or group, it changes to . When it is over a selected object or group, the tool changes to . When it is over an anchor point on an unselected object, a hollow square appears next to the arrow . For a video on selecting objects, see www.adobe.com/go/vid0034. See also “Keys for selecting” on page 467 Select objects with the Lasso tool 1 Select the Lasso tool .
USING ADOBE ILLUSTRATOR CS4 202 Selecting and arranging objects 3 Choose Show Stroke Options from the Magic Wand panel menu, and do any of the following: • To select objects according to their stroke color, select Stroke Color, and then enter a Tolerance value between 0 and 255 pixels for RGB or 0 and 100 pixels for CMYK. • To select objects according to their stroke weight, select Stroke Weight, and then enter a Tolerance value between 0 and 1000 points.
USING ADOBE ILLUSTRATOR CS4 203 Selecting and arranging objects The Direct-Selection tool and Lasso tool let you select a single path or object that is part of one group or several groups. If you have groups of objects within other groups, you can select the next group in the grouping hierarchy by using the Group-Selection tool. Each successive click adds another subset of grouped objects to the selection.
USING ADOBE ILLUSTRATOR CS4 204 Selecting and arranging objects The first click with the Group Selection tool selects an object in a group (left); the second click selects the object’s group (right). The third click adds the next group to the selection (left); the fourth click adds the third group (right). Select faces and edges in a Live Paint group You select faces and edges of a Live Paint tool using the Live Paint Selection tool.
USING ADOBE ILLUSTRATOR CS4 205 Selecting and arranging objects Live Paint Selection tool options You access the Live Paint selection tool options by double-clicking the tool in the Tools panel. Select Fills Selects the faces (the area within edges) of Live Paint groups. Select Strokes Selects the edges of Live Paint groups. Highlight Outlines the face or edge the cursor is currently over. Color Sets the color for the highlight.
USING ADOBE ILLUSTRATOR CS4 206 Selecting and arranging objects Grouping and expanding objects Group or ungroup objects You can combine several objects into a group so that the objects are treated as a single unit. You can then move or transform a number of objects without affecting their attributes or relative positions. For example, you might group the objects in a logo design so that you can move and scale the logo as one unit.
USING ADOBE ILLUSTRATOR CS4 207 Selecting and arranging objects Fill Expands fills. Stroke Expands strokes. Gradient Mesh Expands gradients to a single mesh object. Specify Sets the tolerance for color values between color stops. Higher numbers help maintain a smooth color transition; low numbers can create a more banded appearance. Hold down Alt (Windows) or Option (Mac OS) as you choose Object > Expand to expand a gradient using the settings last entered in the Expand dialog box.
USING ADOBE ILLUSTRATOR CS4 208 Selecting and arranging objects Pastes the object into the center of the active window. Edit > Paste In Front Pastes the object directly in front of the selected object. Edit > Paste In Back Pastes the object directly in back of the selected object. Move an object by dragging 1 Select one or more objects. 2 Drag the object to a new location. If a selected object is filled, you can drag from anywhere on the object.
USING ADOBE ILLUSTRATOR CS4 209 Selecting and arranging objects 90 45 135 0 180 –135 –45 –90 Directions relative to the x axis Move an object using x and y coordinates 1 Select one or more objects. 2 In the Transform panel or Control panel, enter new values in either the X or Y text box, or both. To change the reference point, click a white square on the reference point locator before you enter the values. Move multiple objects at once 1 Select one or more objects.
USING ADOBE ILLUSTRATOR CS4 210 Selecting and arranging objects See also “Layers panel overview” on page 215 Align and distribute objects You use the Align panel (Window > Align) and the align options in the Control panel to align or distribute selected objects along the axis you specify. You can use either the object edges or anchor points as the reference point, and you can align to a selection, an artboard, or a key object. A key object is one specific object in a selection of multiple objects.
USING ADOBE ILLUSTRATOR CS4 211 Selecting and arranging objects 3 In the Align panel or Control panel, select Align To Artboard , and then click the button for the type of alignment or distribution you want. Distribute objects by specific amounts You can distribute objects using exact distances between their paths. 1 Select the objects to distribute. 2 In the Align panel, enter the amount of space to appear between objects in the Distribute Spacing text box.
USING ADOBE ILLUSTRATOR CS4 212 Selecting and arranging objects 3 Position the pointer anywhere outside the bounding box so that the pointer changes to , and then drag. Rotate an object with the Rotate tool 1 Select one or more objects. 2 Select the Rotate tool . 3 Do any of the following: • To rotate the object around its center point, drag in a circular motion anywhere in the document window.
USING ADOBE ILLUSTRATOR CS4 213 Selecting and arranging objects 3 Do either of the following in the Rotate section of the dialog box: • Click the angle icon or drag the angle line around the icon. • In the Angle text box, enter an angle between –360° and 360°. 4 Click OK, or click Copy to rotate a copy of each object. Rotate the x and y axes of a document By default, the x and y axes are parallel to the horizontal and vertical sides of the document window.
USING ADOBE ILLUSTRATOR CS4 214 Selecting and arranging objects Reflect an object with the Reflect tool 1 Select the object. 2 Select the Reflect tool . 3 To draw the invisible axis across which you want the object to reflect, click anywhere in the document window to set one point of the axis. The pointer changes to an arrowhead. 4 Position the pointer at another point to define the invisible axis, and do one of the following: • Click to set the second point of the invisible axis.
USING ADOBE ILLUSTRATOR CS4 215 Selecting and arranging objects 5 Do one of the following: • To reflect the object, click OK. • To reflect a copy of the object, click Copy. Using layers 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.
USING ADOBE ILLUSTRATOR CS4 216 Selecting and arranging objects The Layers panel provides columns to the left and right of the listings. Click in a column to control the following characteristics: Visibility column Indicates whether items in the layers are visible template layers or outline or hidden (blank space), or whether they are layers. Edit column Indicates whether items are locked or unlocked.
USING ADOBE ILLUSTRATOR CS4 217 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.
USING ADOBE ILLUSTRATOR CS4 218 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.
USING ADOBE ILLUSTRATOR CS4 219 Selecting and arranging objects Locate an item in the Layers panel When you select an item in your document window, you can quickly locate the corresponding item in the Layers panel using the Locate Object command. This command is especially helpful for locating items in collapsed layers. 1 Select an object in the document window. If you select more than one object, the frontmost object in the stacking order will be located.
USING ADOBE ILLUSTRATOR CS4 220 Selecting and arranging objects • To hide all unselected layers, choose Hide Others from the Layers panel menu, or Alt-click (Windows) or Option-click (Mac OS) the eye icon for the layer you want to show. Alternatively, to hide all other layers other than the layer that contains the selected object or group, choose Object > Hide > Other Layers. • To show all objects, choose Object > Show All. All previously hidden objects are shown.
USING ADOBE ILLUSTRATOR CS4 221 Selecting and arranging objects Change the stacking order using the Layers panel The stacking order of objects corresponds to the hierarchy of items in the Layers panel. Artwork at the top of the Layers panel is at the front of the stacking order, while artwork at the bottom of the Layers panel is at the back of the stacking order. Within a layer, objects are also stacked hierarchically.
USING ADOBE ILLUSTRATOR CS4 222 Selecting and arranging objects Duplicate objects by using the Layers panel You can quickly duplicate objects, groups, and entire layers by using the Layers panel. 1 Select the items you want to duplicate in the Layers panel. 2 Do one of the following: • Choose Duplicate “Layer name” from the Layers panel menu. • Drag the item in the Layers panel to the New Layer button at the bottom of the panel.
USING ADOBE ILLUSTRATOR CS4 223 Selecting and arranging objects 2 Drag the selection onto the desktop. Selections are copied to the desktop as a picture clipping, which can be dragged and dropped into the desired document. Picture clippings are converted to PICT format when dragged to the desktop. 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.
224 Chapter 8: Reshaping objects You can easily modify an object’s size or shape in Adobe Illustrator by using tools and commands, or by applying effects and masks. You can also easily create 3D 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.
USING ADOBE ILLUSTRATOR CS4 225 Reshaping objects A B C Transform panel A. Reference point locator B. Panel menu C. Lock proportions icon 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.
USING ADOBE ILLUSTRATOR CS4 226 Reshaping objects Scaling, shearing, and distorting objects 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. By default, strokes and effects are not scaled along with objects.
USING ADOBE ILLUSTRATOR CS4 227 Reshaping objects 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.
USING ADOBE ILLUSTRATOR CS4 228 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.
USING ADOBE ILLUSTRATOR CS4 229 Reshaping objects 5 If the objects contain a pattern fill, select Patterns to move the pattern. Deselect Objects if you want to move the pattern but not the objects. 6 Click OK, or click Copy to shear a copy of the objects. Shear objects with the Free Transform tool 1 Select one or more objects. 2 Select the Free Transform tool .
USING ADOBE ILLUSTRATOR CS4 230 Reshaping objects Distorting in perspective Distort objects using a liquify tool You cannot use liquify tools on linked files or objects that contain text, graphs, or symbols. 1 Select a liquify tool, and click or drag over the objects you want to distort. 2 (Optional) To isolate the distortion to specific objects, select the objects before using the tool.
USING ADOBE ILLUSTRATOR CS4 231 Reshaping objects Mesh grid envelope Envelope created from another object 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.
USING ADOBE ILLUSTRATOR CS4 232 Reshaping objects Edit the contents of an envelope 1 Select the envelope and do one of the following: • Click the Edit Contents button in the Control panel. • Choose Object > Envelope Distort > Edit Contents. Note: If your envelope consists of grouped paths, click the triangle to the left of the entry in the Layers panel to view and target the path you want to edit. 2 Edit it as desired.
USING ADOBE ILLUSTRATOR CS4 233 Reshaping objects Distort Appearance Distorts appearance attributes (such as applied effects or graphic styles) along with an object’s shape. Distort Linear Gradients Distorts linear gradients along with an object’s shape. Distort Pattern Fills Distorts patterns along with an object’s shape. Note: If you expand the envelope with a Distort option selected, the respective property is expanded separately.
USING ADOBE ILLUSTRATOR CS4 234 Reshaping objects A B C D Shape modes A. All components in Add mode B. Subtract mode applied to squares C. Intersect mode applied to squares D. Exclude mode applied to squares The bottom row of buttons in the panel, called Pathfinder effects, let you create final shape combinations on the first click. (See “Apply Pathfinder effects” on page 234.
USING ADOBE ILLUSTRATOR CS4 235 Reshaping objects See also “Methods of combining objects” on page 233 “Group or ungroup objects” on page 206 “Move an object to a different layer” on page 217 “Targeting items for appearance attributes” on page 350 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.
USING ADOBE ILLUSTRATOR CS4 236 Reshaping objects Outline Divides an object into its component line segments, or edges. This command is useful for preparing artwork that needs a trap for overprinting objects. (See “Create a trap” on page 430.) Note: When you use the Outline button in the Pathfinder panel, you can use the Direct Selection or Group Selection tool to manipulate each edge independently. You can also choose to delete or preserve unfilled objects when applying the Outline command.
USING ADOBE ILLUSTRATOR CS4 237 Reshaping objects A B C D Working with compound shapes A. Original objects B. Compound shape created C. Individual shape modes applied to each component D. Style applied to entire compound shape Work with compound shapes Creating a compound shape is a two-part process. First, you establish a compound shape in which all components have the same shape mode. Then, you assign shape modes to the components until you obtain the desired combination of shape areas.
USING ADOBE ILLUSTRATOR CS4 238 Reshaping objects Note: If you’ve selected two or more components that use different modes, question marks appear on the Shape Mode buttons. 3 In the Pathfinder panel, click a different Shape Mode button. Release and expand a compound shape Releasing a compound shape separates it back into separate objects. Expanding a compound shape maintains the shape of the compound object, but you can no longer select the individual components.
USING ADOBE ILLUSTRATOR CS4 239 Reshaping objects Apply fill rules to compound paths You can specify whether a compound path is a nonzero winding path or an even-odd path. Nonzero winding fill rule Uses mathematical equations to determine if a point is outside or inside a shape. Illustrator uses the nonzero winding rule as the default rule. Even-odd fill rule Uses mathematical equations to determine if a point is outside or inside a shape.
USING ADOBE ILLUSTRATOR CS4 240 Reshaping objects Cutting and dividing objects Methods for cutting, dividing, and trimming objects Illustrator provides the following methods to cut, divide, and trim objects: Divide Objects Below command Acts as a cookie cutter or stencil, using a selected object to cut through other objects, discarding the original selection. To use this command, choose Object > Path > Divide Objects Below.
USING ADOBE ILLUSTRATOR CS4 241 Reshaping objects See also “Slicing and cutting tool gallery” on page 29 Divide an object into a grid 1 Select the object. If you select more than one object, the resulting grid of objects uses the appearance attributes of the topmost object. 2 Choose Object > Path > Split Into Grid. 3 Enter the number of rows and columns you want. 4 (Optional) Do any of the following: • To set the size of each row and column, enter values for Height and Width.
USING ADOBE ILLUSTRATOR CS4 242 Reshaping objects Before masking (left) compared to after masking (right) The following guidelines apply to creating clipping masks: • The objects that you mask are moved into the clipping mask’s group in the Layers panel if they don’t already reside there. • Only vector objects can be clipping masks; however, any artwork can be masked.
USING ADOBE ILLUSTRATOR CS4 243 Reshaping objects Create a clipping mask for a group or layer 1 Create the object you want to use as the mask. This object is called the clipping path. Only vector objects can be clipping paths. 2 Move the clipping path and the objects you want to mask into a layer or group. 3 In the Layers panel, make sure that the masking object is at the top of the group or layer, and then click the name of the layer or group.
USING ADOBE ILLUSTRATOR CS4 244 Reshaping objects See also “Layers panel overview” on page 215 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. • In the Layers panel, click the name of the group or layer that contains the clipping mask. Click the Make/Release Clipping Masks button at the bottom of the panel, or select Release Clipping Mask from the panel menu.
USING ADOBE ILLUSTRATOR CS4 245 Reshaping objects Example of using a blend to distribute color smoothly between two 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.
USING ADOBE ILLUSTRATOR CS4 246 Reshaping objects 2 Choose Object > Blend > Make. 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. Blend options You set blending options by double-clicking the Blend tool or choosing Object > Blend > Blend Options. To change options for an existing blend, select the blended object first.
USING ADOBE ILLUSTRATOR CS4 247 Reshaping objects • 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. • To reverse the order of a blend on its spine, select the blended object and choose Object > Blend > Reverse Spine. See also “Reshaping objects” on page 224 Reverse the stacking order in a blended object 1 Select the blended object.
USING ADOBE ILLUSTRATOR CS4 248 Reshaping objects Reshaping objects with effects Reshaping objects with effects Using effects is a convenient way to reshape objects without making permanent changes to their underlying geometry. Effects are live, which means that you can modify or remove the effect at any time. You can use the following effects to reshape objects: Convert To Shape Converts the shape of vector objects to a rectangle, rounded rectangle, or ellipse.
USING ADOBE ILLUSTRATOR CS4 249 Reshaping objects 2 Choose Effect > Stylize > Round Corners. (The command is located in the first Stylize submenu.) 3 To define the curvature of the rounded curve, enter a value in the Radius text box, and click OK. See also “About effects” on page 354 “Apply an effect” on page 354 “Modify or delete an effect” on page 356 Creating 3D objects Create 3D objects 3D effects enable you to create three-dimensional (3D) objects from two-dimensional (2D) artwork.
USING ADOBE ILLUSTRATOR CS4 250 Reshaping objects 2 Choose Effect > 3D > Extrude & Bevel. 3 Click More Options to view the complete list of options, or Fewer Options to hide the extra options. 4 Select Preview to preview the effect in the document window. 5 Specify options: Position Sets how the object is rotated and the perspective from which you view it. (See “Set 3D rotation position options” on page 251.
USING ADOBE ILLUSTRATOR CS4 251 Reshaping objects 2 Choose Effect > 3D > Revolve. 3 Select Preview to preview the effect in the document window. 4 Click More Options to view the complete list of options, or Fewer Options to hide the extra options. Position Sets how the object is rotated and the perspective from which you view it. (See “Set 3D rotation position options” on page 251.) Revolve Determines how to sweep the path around the object to turn it into three dimensions.
USING ADOBE ILLUSTRATOR CS4 252 Reshaping objects Extrude & Bevel options Extrude Depth Sets the depth of the object, using a value between 0 and 2000. Cap Specifies whether the object appears solid (Revolve Cap On ) or hollow (Revolve Cap Off ). Bevel Applies the type of beveled edge you choose along the depth (z axis) of the object. Height Sets the height between 1 and 100. Bevel heights that are too large for an object may cause the object to selfintersect and produce unexpected results.
USING ADOBE ILLUSTRATOR CS4 253 Reshaping objects Light Intensity Controls the light intensity between 0% and 100%. Ambient Light Controls the global lighting, which changes the brightness of all the object’s surfaces uniformly. Enter a value between 0% and 100%. Highlight Intensity Controls how much the object reflects light, with values ranging from 0% to 100%. Lower values produce a matte surface, and higher values create a shinier-looking surface.
USING ADOBE ILLUSTRATOR CS4 254 Reshaping objects • Custom Lets you choose a custom color. If you choose this option, click the Shade Color box to select a color in the Color Picker. Spot colors are changed to process colors. • Black Overprint Avoids process colors if you’re using a spot color workflow. The object is shaded by overprinting shades of black on top of the object’s fill color. To view the shading, choose View > Overprint Preview.
USING ADOBE ILLUSTRATOR CS4 255 Reshaping objects 5 Specify options: Position Sets how the object is rotated and the perspective from which you view it. (See “Set 3D rotation position options” on page 251.) Surface Creates a wide variety of surfaces, from dull and unshaded matte surfaces to glossy and highlighted surfaces that look like plastic. (See “Surface shading options” on page 252.) 6 Click OK. Map artwork to a 3D object Every 3D object is composed of multiple surfaces.
USING ADOBE ILLUSTRATOR CS4 256 Reshaping objects 5 To select which object surface you want to map, click the first , previous , next , and last Surface arrow buttons, or enter a surface number in the text box. A light gray color marks surfaces that are currently visible. A dark gray color marks surfaces that are hidden by the object’s current position. When a surface is selected in the dialog box, the selected surface is outlined in red in the document window.
257 Chapter 9: Importing, exporting, and saving 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.
USING ADOBE ILLUSTRATOR CS4 258 Importing, exporting, and saving 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. If the file contains layer comps, you can also choose which version of the image to import. For a video on importing files into Illustrator, see www.adobe.com/go/vid0033.
USING ADOBE ILLUSTRATOR CS4 259 Importing, exporting, and saving Modified A modified file is one for which the version of the file on disk is more recent than the version in your document. This would occur, for example, when someone modifies a Photoshop graphic that you have already placed into Illustrator. Missing A missing file is one for which the graphic is no longer in the location from which it was imported, although it may still exist somewhere.
USING ADOBE ILLUSTRATOR CS4 260 Importing, exporting, and saving Update modified links • To update specific links, in the Links panel select one or more modified links button , and then click the Update Link or choose Update Link from the Links panel menu. • To update specific links, select the linked artwork in the illustration window. In the Control panel, click the filename, and then choose Update Link. Note: By default, Illustrator prompts you to update a link if the source file changes.
USING ADOBE ILLUSTRATOR CS4 261 Importing, exporting, and saving Embed a linked file Rather than linking to a file that you’ve placed in a document, you can embed (or store) the file within the document. When you embed a file, you break the link to the original. Without the link, the Links panel doesn’t alert you when the original has changed, and you cannot update the file automatically. Keep in mind that embedding a file, rather than linking to the original, increases the document file size.
USING ADOBE ILLUSTRATOR CS4 262 Importing, exporting, and saving 3:1 24:1 Example of a bitmap image at different levels of magnification Bitmap images sometimes require large amounts of storage space, and often need to be compressed to keep file sizes down when used in certain Creative Suite components. For instance, you compress an image file in its original application before you import it into a layout.
USING ADOBE ILLUSTRATOR CS4 263 Importing, exporting, and saving Importing Adobe PDF files 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.
USING ADOBE ILLUSTRATOR CS4 264 Importing, exporting, and saving Importing monotone, duotone, and tritone images from Adobe PDF files When you import artwork from an Adobe PDF file, it’s possible to introduce data that you can’t create within Illustrator. This is called non-native art and includes monotone, duotone, and tritone images. You can also generate non-native art within Illustrator by using the Flatten Transparency command to preserve spot colors.
USING ADOBE ILLUSTRATOR CS4 265 Importing, exporting, and saving • If you import an EPS color that has the same name as a color in your document but a different definition, Illustrator displays an alert. Select Use Linked File’s Color to replace the color in your document with the EPS color in the linked file. All objects using this color in your document will get updated appropriately. Select Use Document’s Color to leave the swatch as is and resolve all color conflicts using the document’s color.
USING ADOBE ILLUSTRATOR CS4 266 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.
USING ADOBE ILLUSTRATOR CS4 267 Importing, exporting, and saving 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. Import Hidden Layers Imports all layers from the Photoshop file, even those that are hidden. This option is not available when linking to a Photoshop file.
USING ADOBE ILLUSTRATOR CS4 268 Importing, exporting, and saving Note: You may receive an error message when saving artwork that includes linked EPS files, if those files were saved in binary format (for example, in Photoshop's default EPS format). In this case, resave the EPS files in ASCII format, embed the linked files into the Illustrator artwork, or save the artwork in AI or PDF format instead of EPS format. For a video on creating mobile content in Illustrator, see www.adobe.com/go/vid0207.
USING ADOBE ILLUSTRATOR CS4 269 Importing, exporting, and saving See also “Adobe Version Cue” on page 35 “About color profiles” on page 143 “Rasterization options” on page 355 Save in EPS format Virtually all page layout, word-processing, and graphic applications accept imported or placed encapsulated PostScript (EPS) files. The EPS format preserves many of the graphic elements you can create with Adobe Illustrator, which means that EPS files can be reopened and edited as Illustrator files.
USING ADOBE ILLUSTRATOR CS4 270 Importing, exporting, and saving such as Adobe InDesign. However, if the file is opened in Illustrator on a computer that does not have the font installed, the font will be faux or substituted. This is to prevent illegal use of the embedded font. Note: Selecting the Embed Fonts option increases the size of the saved file. Include Linked Files Embeds files that are linked to the artwork. Include Document Thumbnails Creates a thumbnail image of the artwork.
USING ADOBE ILLUSTRATOR CS4 271 Importing, exporting, and saving When you save artwork in an SVG format, mesh objects are rasterized. In addition, images that have no alpha channel are converted to the JPEG format. Images with an alpha channel are converted to the PNG format. If your document contains multiple artboards and you save to SVG, the active artboard is preserved. You cannot save individual artboards as separate SVG files. For a video on creating mobile content in Illustrator, see www.adobe.
USING ADOBE ILLUSTRATOR CS4 272 Importing, exporting, and saving Image Location Determines whether raster images are embedded directly in the file or linked to the exported JPEG or PNG images from the original Illustrator file. Embedding images increases file size but ensures that rasterized images will always be available. Preserve Illustrator Editing Capabilities Preserves Illustrator-specific data by embedding an AI file in the SVG file (resulting in a larger file size).
USING ADOBE ILLUSTRATOR CS4 273 Importing, exporting, and saving “About metadata” on page 291 “About data-driven graphics” on page 444 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.
USING ADOBE ILLUSTRATOR CS4 274 Importing, exporting, and saving 3 Select a format from the Save As Type (Windows) or Format (Mac OS) pop-up menu. 4 Click Save (Windows) or Export (Mac OS). 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.
USING ADOBE ILLUSTRATOR CS4 275 Importing, exporting, and saving Photoshop (PSD) The standard Photoshop format. If your artwork contains data that cannot be exported to Photoshop format, Illustrator preserves the appearance of the artwork by merging the layers in the document or by rasterizing the artwork. As a result, there may be times when layers, sublayers, compound shapes, and editable text are not preserved in the Photoshop file, even though you selected the appropriate export option.
USING ADOBE ILLUSTRATOR CS4 276 Importing, exporting, and saving Alter Paths For Appearance Changes the paths in AutoCAD to maintain the original appearance, if necessary. For example, if during the export, a path overlaps other objects and changes their appearance, this option alters the path to maintain the objects’ appearance. Outline Text Converts all text to paths before export to maintain appearance. Illustrator and AutoCAD may interpret text attributes differently.
USING ADOBE ILLUSTRATOR CS4 277 Importing, exporting, and saving Compress File Compresses the SWF data, resulting in a smaller file size. Note that Flash players prior to Flash Player 6 can’t open or display compressed files. Don’t use this option if you’re not sure what version of the Flash player the file will be viewed on. Export Symbols In The Panel Exports all the symbols in the Symbols panel.
USING ADOBE ILLUSTRATOR CS4 278 Importing, exporting, and saving Layer Order Determines the timeline of the animation. Select Bottom Up to export layers starting with the bottommost layer in the Layers panel. Select Top Down to export layers starting with the topmost layer in the Layers panel. (This option is available only for AI Layers To SWF Frames.) Export Static Layers Specifies one or more layers or sublayers to be used as static content in all the exported SWF Frames.
USING ADOBE ILLUSTRATOR CS4 279 Importing, exporting, and saving Photoshop export options If your document contains multiple artboards, specify how to export the artboards before you click Save (Windows) or Export (Mac OS) in the Export dialog box. To export each artboard as a separate PSD file, select Use Artboards in the Export dialog box. To export only a range of artboards, specify the range.
USING ADOBE ILLUSTRATOR CS4 280 Importing, exporting, and saving Note: Some applications open PNG files at 72 ppi, regardless of the resolution you specify. In such applications, the dimensions of the image will be altered. (For example, artwork saved at 150 ppi will be over twice as large as artwork saved at 72 ppi.) Therefore, only change the resolution when you know the target application supports non-72-ppi resolutions. Color Specifies a color for filling transparency.
USING ADOBE ILLUSTRATOR CS4 281 Importing, exporting, and saving 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. Adobe PDF is the standard for the secure, reliable distribution and exchange of electronic documents and forms around the world.
USING ADOBE ILLUSTRATOR CS4 282 Importing, exporting, and saving Create an Adobe PDF 1 Choose File > Save As or File > Save A Copy. 2 Type a filename, and choose a location for the file. 3 Choose Adobe PDF (*.PDF) as the file format, and click Save. 4 Either choose a preset from the Adobe PDF Preset menu, or select a category from the list on the left of the dialog box and then customize the options. 5 Click Save PDF.
USING ADOBE ILLUSTRATOR CS4 283 Importing, exporting, and saving Adobe PDF presets A PDF preset is a group of settings that affect the process of creating a PDF. These settings are designed to balance file size with quality, depending on how the PDF will be used. Most predefined presets are shared across Adobe Creative Suite components, including InDesign, Illustrator, Photoshop, and Acrobat. You can also create and share custom presets for your unique output requirements.
USING ADOBE ILLUSTRATOR CS4 284 Importing, exporting, and saving content is the highest consideration. The objective is to maintain all the information in a PDF file that a commercial printer or print service provider needs in order to print the document correctly. This set of options uses PDF 1.4, converts colors to CMYK, downsamples color and grayscale images to 300 ppi and monochrome images to 1200 ppi, embeds subsets of all fonts, and preserves transparency (for file types capable of transparency).
USING ADOBE ILLUSTRATOR CS4 285 Importing, exporting, and saving See also “Setting Adobe PDF options” on page 285 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 4 applications, do one of the following: • Double-click the .joboptions file. • Choose Edit > Adobe PDF Presets. Click Import, and select the .
USING ADOBE ILLUSTRATOR CS4 286 Importing, exporting, and saving General options for PDF You can set the following options in the General section of the Save Adobe PDF dialog box: Description Displays the description from the selected preset, and provides a place for you to edit the description. You can paste a description from the clipboard. Editing the description of a preset appends the word “(modified)” to the preset name.
USING ADOBE ILLUSTRATOR CS4 287 Importing, exporting, and saving • Subsampling Chooses a pixel in the center of the sample area and replaces the entire area with that pixel color. Subsampling significantly reduces the conversion time compared with downsampling but results in images that are less smooth and continuous. • Bicubic Downsampling Uses a weighted average to determine pixel color, which usually yields better results than the simple averaging method of downsampling.
USING ADOBE ILLUSTRATOR CS4 288 Importing, exporting, and saving The Marks & Bleed area of the Save Adobe PDF dialog box lets you specify the extent of the bleed and add a variety of printer’s marks to the file. All Printer’s Marks Enables all printer’s marks (Trim Marks, Registration Marks, Color Bars, and Page Information) in the PDF file. Printer Mark Type Lets you choose Roman printer’s marks, or Japanese marks for pages printed in Asian languages.
USING ADOBE ILLUSTRATOR CS4 289 Importing, exporting, and saving Output Intent Profile Name Specifies the characterized printing condition for the document. An output intent profile is required for creating PDF/X-compliant files. This menu is only available if a PDF/X standard (or preset) is selected in the Save Adobe PDF dialog box. The available options depend on whether color management is on or off. For example, if color management is off, the menu lists available printer profiles.
USING ADOBE ILLUSTRATOR CS4 290 Importing, exporting, and saving Adding security to PDF files When saving as PDF, you can add password protection and security restrictions, limiting not only who can open the file, but also who can copy or extract contents, print the document, and more. A PDF file can require passwords to open a document (document open password) and to change security settings (permissions password).
USING ADOBE ILLUSTRATOR CS4 291 Importing, exporting, and saving • Inserting, Deleting, And Rotating Pages Lets users insert, delete, and rotate pages, and create bookmarks and thumbnails. This option is only available for high (128-bit RC4 or AES) encryption. • Filling In Form Fields, And Signing Lets users fill in forms and add digital signatures. This option doesn’t allow them to add comments or create form fields. This option is only available for high (128-bit RC4 or AES) encryption.
USING ADOBE ILLUSTRATOR CS4 292 Importing, exporting, and saving Working with metadata in Adobe Bridge and Adobe Creative Suite components Many of the powerful Adobe Bridge features that allow you to organize, search, and keep track of your files and versions depend on XMP metadata in your files. Adobe Bridge provides two ways of working with metadata: through the Metadata panel and through the File Info dialog box. In some cases, multiple views exist for the same metadata property.
293 Chapter 10: Type Among the most powerful aspects of Adobe Illustrator are its type features. You can add a single line of type to your artwork, create columns and rows of text, flow text into a shape or along a path, and work with letterforms as graphic objects. The fonts you choose and the settings you select in Illustrator for leading, kerning, and spacing before and after paragraphs are examples of decisions you can make about the appearance of the text in your artwork.
USING ADOBE ILLUSTRATOR CS4 294 Type Creating text 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.
USING ADOBE ILLUSTRATOR CS4 295 Type Creating a type area by dragging (top) compared to converting an existing shape to a type area (bottom) Note: If the object is an open path, you must use the Area Type tool to define the bounding area. Illustrator draws an imaginary line between the endpoints of the path to define the boundaries. 2 (Optional) Set text-formatting options in the Control panel, Character panel, or Paragraph panel. 3 Enter the text. Press Enter or Return to begin a new paragraph.
USING ADOBE ILLUSTRATOR CS4 296 Type Resize a text area ❖ Do one of the following: • Select the type object using the Selection tool or Layers panel, and drag a handle on the bounding box. Resizing a text area with the Selection tool • Select the edge or corner of the type path with the Direct Selection tool . Then drag to adjust the shape of the path. Adjusting the type path using the Direct Selection tool is easiest when you’re in Outline view.
USING ADOBE ILLUSTRATOR CS4 297 Type Type without inset spacing (left) compared to type with inset spacing (right) 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. This alignment is referred to as the first baseline offset. For example, you can make text stick up above the top of the object or fall a specific distance below the top of the object.
USING ADOBE ILLUSTRATOR CS4 298 Type 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.
USING ADOBE ILLUSTRATOR CS4 299 Type Ports on linked type objects 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. See also “Enter text in an area” on page 294 Thread text 1 Use the Selection tool to select an area type object.
USING ADOBE ILLUSTRATOR CS4 300 Type Wrapping is determined by the stacking order of objects, which you can view in the Layers panel by clicking the triangle next to the layer name. To wrap text around an object, the wrap object must be in the same layer as the text and located directly above the text in the layer hierarchy. You can drag contents up or down in the Layers panel to change hierarchy. A B Text wrapped around objects A. Wrap objects B.
USING ADOBE ILLUSTRATOR CS4 301 Type Unwrap text from an object 1 Select the wrap object. 2 Choose Object > Text Wrap > Release. Delete empty type objects from your artwork Deleting unused type objects makes your artwork easier to print and reduces the file size. You can create empty type objects, for example, if you inadvertently click the Type tool in the artwork area and then choose another tool. 1 Choose Object > Path > Clean Up. 2 Select Empty Text Paths, and click OK.
USING ADOBE ILLUSTRATOR CS4 302 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.
USING ADOBE ILLUSTRATOR CS4 303 Type See also “Shift the baseline” on page 318 Apply effects to type on a path Path type effects let you distort the orientation of characters on a path. You must first create type on a path before you can apply these effects. 1 Select the path type object. 2 Do one of the following: • Choose Type > Type On A Path and select an effect from the submenu. • Choose Type > Type On A Path > Type On A Path Options. Then select an option from the Effect menu, and click OK.
USING ADOBE ILLUSTRATOR CS4 304 Type Note: Characters without ascenders or descenders (such as a letter e) or a baseline (such as an apostrophe) are vertically aligned with characters that have ascenders, descenders, and baselines. These font dimensions are permanently specified by the font designer. For more control over vertical alignment, use the Baseline Shift option in the Character panel. For example, type a negative value in the Baseline Shift box to lower the type.
USING ADOBE ILLUSTRATOR CS4 305 Type Rotated type path (left) compared to rotated type and path (right) See also “Transforming objects” on page 224 Adjust the scale of type You can specify the proportion between the height and width of the type, relative to the original width and height of the characters. Unscaled characters have a value of 100%. Some type families include a true expanded font, which is designed with a larger horizontal spread than the plain type style.
USING ADOBE ILLUSTRATOR CS4 306 Type 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. • Select a word from the Suggestions list or type the correct word in the top box, and then click Change to change only that occurrence of the misspelled word. You can also click Change All to change all occurrences of the misspelled word in your document.
USING ADOBE ILLUSTRATOR CS4 307 Type About Unicode Illustrator supports Unicode, a standard that assigns a unique number to every single character, no matter which language or type of computer you use. Unicode is: Portable Letters and numbers will not change when you move the file from one workstation to another.
USING ADOBE ILLUSTRATOR CS4 308 Type When working with an OpenType font, you can automatically substitute alternate glyphs, such as ligatures, small capitals, fractions, and old style proportional figures, in your text. A B C Regular (left) and OpenType (right) fonts A. Ordinals B. Discretionary ligatures C. Swashes OpenType fonts may include an expanded character set and layout features to provide richer linguistic support and advanced typographic control.
USING ADOBE ILLUSTRATOR CS4 309 Type Specify a typeface size By default, typeface size is measured in points (a point equals 1/72 of an inch). You can specify any typeface size from 0.1 to 1296 points, in 0.001-point increments. 1 Select the characters or type objects you want to change. If you don’t select any text, the typeface size applies to new text you create. 2 Do one of the following: • In the Character panel or Control bar set the Font Size option. • Choose a size from the Type > Size menu.
USING ADOBE ILLUSTRATOR CS4 310 Type Formatting type Selecting type Selecting characters lets you edit them, format them using the Character panel, apply fill and stroke attributes to them, and change their transparency. You can apply these changes to one character, a range of characters, or all characters in a type object. When characters are selected, they are highlighted in the document window and the word “Characters” appears in the Appearance panel.
USING ADOBE ILLUSTRATOR CS4 311 Type Select a type path Selecting a type path lets you adjust its shape and apply fill and stroke attributes to it. This level of selection is not available for point type. When a type path is selected, the word “Path” appears in the Appearance panel. Selecting a type path is easiest when you’re in Outline view. 1 Select the Direct Selection tool or the Group Selection tool . 2 If the type object is selected, click outside the object’s bounding box to deselect it.
USING ADOBE ILLUSTRATOR CS4 312 Type Change the color and appearance of characters You can change the color and appearance of type objects by applying fills, strokes, transparency settings, effects, and graphic styles. The text remains editable as long as you don’t rasterize it. 1 Do one of the following: • To change the appearance of specific characters in a type object, select the characters.
USING ADOBE ILLUSTRATOR CS4 313 Type See also “Keys for working with type” on page 470 “Workspace overview” on page 10 Underline or strike through text 1 Select the type you want to underline or strike through. If you don’t select any text, the setting applies to new text you create. 2 Do one of the following: • To underline type, click the Underline button in the Character panel. • To strike through type, click the Strikethrough button in the Character panel.
USING ADOBE ILLUSTRATOR CS4 314 Type Title Case to capitalize the first letter of each word. Sentence Case to capitalize the first letter of each sentence. Note: The Sentence Case command assumes that the period (.), exclamation point (!), and question mark (?) characters mark the ends of sentences. Applying Sentence Case may cause unexpected case changes when these characters are used in other ways, as in abbreviations, filenames, or URLs. In addition, proper names may become lowercase.
USING ADOBE ILLUSTRATOR CS4 315 Type Type Optimized (Hinted) Applies anti-aliasing that is best suited to type. Anti-aliasing reduces the appearance of jagged edges in the rasterized image and gives type a smoother on-screen appearance. However, it can also make small text difficult to read. Creating superscripts or subscripts Superscript and subscript text (also called superior and inferior text) is reduced-size text that is raised or lowered in relation to a font’s baseline.
USING ADOBE ILLUSTRATOR CS4 316 Type Font outline information comes from the actual font files installed on your system. When you create outlines from type, characters are converted in their current positions; they retain all graphics formatting such as their stroke and fill. A B Modifying a letterform A. Original type object B. Type converted to outlines, ungrouped, and modified Note: You can’t convert bitmap fonts or outline-protected fonts to outlines.
USING ADOBE ILLUSTRATOR CS4 317 Type See also “OpenType fonts” on page 307 “OpenType panel overview” on page 321 Format fractions and ordinals in OpenType fonts When using an OpenType font, you can automatically format ordinal numbers with superscript characters (for ). Characters such as the superscript “a” and “o” in the Spanish words segunda ( ) and segundo ( ) are example, also typeset properly. You can also convert numbers separated by a slash (such as 1/2) to a shilling fraction (such as ).
USING ADOBE ILLUSTRATOR CS4 318 Type 6 Click OK to search for and replace selected characters. See also “Use ligatures and contextual alternates” on page 322 Line and character spacing 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.
USING ADOBE ILLUSTRATOR CS4 319 Type You can automatically kern type using metrics kerning or optical kerning. Metrics kerning (also called Auto kerning) uses kern pairs, which are included with most fonts. Kern pairs contain information about the spacing of specific pairs of letters. Some of these are: LA, P., To, Try, Ta, Tu, Te, Ty, Wa, WA, We, Wo, Ya, and Yo. Metrics kerning is set as the default so that specific pairs are automatically kerned when you import or type text.
USING ADOBE ILLUSTRATOR CS4 320 Type • To turn off kerning for selected characters, set the Kerning option in the Character panel to 0 (zero). Adjust tracking 1 Select the range of characters or the type object that you want to adjust. 2 In the Character panel, set the Tracking option. Turn fractional character widths off or on By default, the software uses fractional character widths between characters.
USING ADOBE ILLUSTRATOR CS4 321 Type A B C D Glyphs panel A. Show menu B. Font family C. Font style D. Zoom buttons 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.
USING ADOBE ILLUSTRATOR CS4 322 Type I J K A B C D E F G H OpenType panel A. Standard Ligatures B. Contextual Alternates C. Discretionary Ligatures D. Swash E. Stylistic Alternates F. Titling Alternates G. Ordinals H. Fractions I. panel menu J. Figure type K. Character position Note: Additional features may be available for Asian OpenType fonts. You can access additional commands and options in the OpenType panel menu in the upper right corner of the panel.
USING ADOBE ILLUSTRATOR CS4 323 Type Use swashes, titling alternates, or stylistic alternates Many OpenType fonts include stylized characters that let you add decorative elements to type. Swashes are characters with exaggerated flourishes. Titling alternates are characters (usually all in capitals) designed for use in large-size settings, such as titles. Stylistic alternates are stylized characters that create a purely esthetic effect.
USING ADOBE ILLUSTRATOR CS4 324 Type A B C D E F 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 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.
USING ADOBE ILLUSTRATOR CS4 325 Type 4 Set the Single Word Justification option to specify how you want to justify single-word paragraphs. In narrow columns, a single word can occasionally appear by itself on a line. If the paragraph is set to full justification, a single word on a line may appear to be too stretched out. Instead of leaving such words fully justified, you can center them or align them to the left or right margins.
USING ADOBE ILLUSTRATOR CS4 326 Type Create a hanging indent In a hanging indent, all the lines in a paragraph are indented except for the first line. Hanging indents are especially useful when you want to add inline graphics at the beginning of the paragraph, or when you want to create a bulleted list. No indent (left) and hanging indent (right) 1 Using the Type tool , click in the paragraph you want to indent. 2 In the Control panel or the Tabs panel, specify a left indent value greater than zero.
USING ADOBE ILLUSTRATOR CS4 327 Type Illustrator provides the following options for hanging punctuation: Roman Hanging Punctuation Controls the alignment of punctuation marks for a specific paragraph. When Roman Hanging Punctuation is turned on, the following characters appear 100% outside the margins: single quotes, double quotes, hyphens, periods, and commas; the following characters appear 50% outside the margins: asterisks, tildes, ellipses, en dashes, em dashes, colons, semicolons.
USING ADOBE ILLUSTRATOR CS4 328 Type Hyphenation Zone Specifies a distance from the right edge of a paragraph, demarcating a portion of the line where hyphenation is not allowed. A setting of 0 allows all hyphenation. This option applies only when you use the Adobe Single-line Composer. Hyphenate Capitalized Words Select to prevent capitalize words from being hyphenated.
USING ADOBE ILLUSTRATOR CS4 329 Type • For justified text, the highest importance is given to evenness of letter and word spacing. • Hyphenation is avoided when possible. Single-line Composer The Single-line composer offers a traditional approach to composing type one line at a time. This option is useful if you want manual control over how lines break. The Single-line Composer uses the following principles when considering a breakpoint: • Longer lines are favored over shorter lines.
USING ADOBE ILLUSTRATOR CS4 330 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 & Display Performance preferences (for all files) or by the units specified in the Document Setup dialog box (for the current file).
USING ADOBE ILLUSTRATOR CS4 331 Type 3 Choose Repeat Tab from the panel menu. C A B Repeated tabs 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.
USING ADOBE ILLUSTRATOR CS4 332 Type Add tab leaders A tab leader is a repeated pattern of characters, such as a series of dots or dashes, between a tab and the following text. 1 In the Tabs panel, select a tab stop on the ruler. 2 Type a pattern of as many as eight characters in the Leader box, and then press Enter or Return. The characters you entered repeat across the width of the tab.
USING ADOBE ILLUSTRATOR CS4 333 Type 2 In the Character Styles panel or the Paragraph Styles panel, do one of the following: • To create a style with the default name, click the Create New Style button. • To create a style with a custom name, choose New Style in the panel menu. Type a name, and click OK. To create a copy of a character or paragraph style, drag the style onto the New Style button.
USING ADOBE ILLUSTRATOR CS4 334 Type • Drag the style to the Delete icon at the bottom of the panel. To delete all unused styles, choose Select All Unused from the panel menu, and then click the Delete icon. 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.
USING ADOBE ILLUSTRATOR CS4 335 Type Input Text Exports the text as Input text, which is the same as Dynamic text, but also allows users to edit the text in Flash Player. You use input text for forms, surveys, or other similar purposes in which you want users to input or edit text. 3 (Optional) Enter an instance name for the text object. If you do not enter an instance name, the default name of the text object in the Layers panel is used in Flash to manipulate the text object. 4 Specify a Rendering Type.
USING ADOBE ILLUSTRATOR CS4 336 Type Formatting Asian characters Note: To enable support for GB18030 fonts for Simplified Chinese in Windows XP, see the readme file in the Illustrator CS4\Simplified Chinese\Goodies\Optional Extensions\GB18030 folder. Display Asian type options By default, Illustrator hides Asian type options in the Character panel, Paragraph panel, OpenType panel, and Type menu. 1 Choose Edit > Preferences > Type (Windows) or Illustrator > Preferences > Type (Mac OS).
USING ADOBE ILLUSTRATOR CS4 337 Type 2 Choose an option from the Glyphs panel menu. If you don’t see the following options, select Show Asian Options in the Type preferences. If an option is dimmed, the glyph form is not available for the current font: Traditional Forms Replaces the selected characters with traditional forms. Expert Forms Replaces the selected characters with their expert forms. JIS 04 Forms Replaces the selected characters with JIS 04 forms.
USING ADOBE ILLUSTRATOR CS4 338 Type Roman text before and after rotation See also “Display Asian type options” on page 336 “Rotate type” on page 305 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.
USING ADOBE ILLUSTRATOR CS4 339 Type Parenthesis without aki (left) compared to parenthesis with aki (right) ❖ Select the characters you want to adjust with the Type tool, and do any of the following in the Character panel: • To add aki before or after a character, choose the amount of aki you want to add from the Insert Aki (Left) or Insert Aki (Right) menu in the Character panel.
USING ADOBE ILLUSTRATOR CS4 340 Type 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. Line Gap Determines the distance between the lines of warichu characters. Scale Sets the size of warichu characters as a percentage of the size of the parent text. Alignment Specifies the alignment of warichu characters.
USING ADOBE ILLUSTRATOR CS4 341 Type The existing character spacing rules in Illustrator follow the Japanese Industrial Standards (JIS) specification, JISx4051-1995. You can select from the predefined mojikumi sets provided by Illustrator. Furthermore, you can create specific mojikumi sets. In a new mojikumi set, you can edit the settings for spacing that you use a lot, such as the spacing between a period and subsequent opening parenthesis.
USING ADOBE ILLUSTRATOR CS4 342 Type 5 Specify Desired, Minimum, and Maximum values for each option. The Minimum value is used to compress lines for kinsoku (specify a value less than the Desired value). The Maximum value is used to spread lines for fully justified text (specify a value greater than the Desired value). Depending on the character type, you can specify the same values for Desired, Minimum, and Maximum if you don’t want to change the spacing. 6 Click Save or OK to save the settings.
USING ADOBE ILLUSTRATOR CS4 343 Type 3 Enter a name for the kinsoku set, specify the existing set on which the new set will be based, and click OK. 4 To add a character to a field, select the field, and do one of the following: • Enter a character in the Input box, and click Add. • Specify the code system (Shift JIS, JIS, Kuten, or Unicode), enter the code, and click Add. 5 To delete a character in a field, select the character and click Delete.
USING ADOBE ILLUSTRATOR CS4 344 Type Force Forces punctuation outside the bounding box by spreading lines that end within the bounding box and end with one of the hanging characters. Use kurikaeshi moji shori You can control how repeated characters in Japanese text are handled using the Kurikaeshi Moji Shori option in the Paragraph panel. By default, a repeat character mark is substituted for the second character when two identical characters follow one after the other in a body of text.
USING ADOBE ILLUSTRATOR CS4 345 Type A B C D E F Categories of characters A. Kanji B. Kana C. Punctuation D. Symbols E. Roman F. Numerals 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 B C D E F G Font attributes A. Font Family B. Font Style C. Size D. Baseline E. Vertical Scale F. Horizontal Scale G.
USING ADOBE ILLUSTRATOR CS4 346 Type Categories of characters in composite fonts Kanji The base font of the composite font. The size and baseline for other characters are set according to the sizes and baselines specified here. Kana The font used for hiragana and katakana characters. Punctuation The font used for punctuation. Symbols The font used for symbols. Roman The font used for half-width roman characters. Numbers The font used for half-width numbers. This is usually a roman font.
USING ADOBE ILLUSTRATOR CS4 347 Type Delete a composite font 1 Choose Type > Composite Fonts. If you don’t see this command, select Show Asian Options in the Type preferences. 2 Select the composite font from the Composite Font dialog box. 3 Click Delete Font, and then click Yes. Export a composite font Composite fonts exported from Illustrator can be imported into the Japanese version of Adobe InDesign 2 or later. 1 Choose Type > Composite Fonts.
USING ADOBE ILLUSTRATOR CS4 348 Type • To preserve the legacy text on a layer below the updated text, select a type tool and click in the text that you want to update. Alternatively, double-click the text that you want to update using the Selection tool. Then click Copy Text Layer. This allows you to compare the layout of the legacy text to the updated text.
349 Chapter 11: Creating special effects 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. Appearance attributes About appearance attributes Appearance attributes are properties that affect the look of an object without altering its underlying structure.
USING ADOBE ILLUSTRATOR CS4 350 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.
USING ADOBE ILLUSTRATOR CS4 351 Creating special effects A B C D E Shaded target icons in the Layers panel indicate which items contain appearance attributes. A. Targeting and appearance column B. Selection column C. Group with appearance attributes D. Layer with appearance attributes E.
USING ADOBE ILLUSTRATOR CS4 352 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.
USING ADOBE ILLUSTRATOR CS4 353 Creating special effects See also “Targeting items for appearance attributes” on page 350 “Layers panel overview” on page 215 “Appearance panel overview” on page 349 Copy appearance attributes by dragging 1 Select the object or group (or target the layer in the Layers panel) whose appearance you want to copy. 2 Do one of the following: • Drag the thumbnail at the top of the Appearance panel onto an object in the document window.
USING ADOBE ILLUSTRATOR CS4 354 Creating special effects Specify which attributes you can copy with the Eyedropper tool 1 Double-click the Eyedropper tool. 2 Select the attributes you want to copy with the Eyedropper tool. You can sample appearance attributes including transparency, and various fill and stroke properties, as well as character and paragraph properties. 3 Choose the sample size area from the Raster Sample Size menu. 4 Click OK.
USING ADOBE ILLUSTRATOR CS4 355 Creating special effects To apply the effect and settings that were used last, choose Effect > Apply [Effect Name]. To apply the last used effect and set its options, choose Effect > [Effect Name]. See also “Targeting items for appearance attributes” on page 350 About raster effects Raster effects are effects that generate pixels, rather than vector data.
USING ADOBE ILLUSTRATOR CS4 356 Creating special effects See also “About raster effects” on page 355 “Rasterize a vector object” on page 273 “Image resolution guidelines for final output” on page 262 Applying effects to bitmap images Effects let you apply a special look to bitmap images as well as vector objects. For example, you can apply an impressionistic look, apply lighting changes, distort images, and produce many other interesting visual effects.
USING ADOBE ILLUSTRATOR CS4 357 Creating special effects Summary of effects Effects quick reference Effect Action Effect > 3D Convert open or closed paths, or bitmap objects, into three-dimensional (3D) objects, which you can rotate, light, and shade. See also: “Create 3D objects” on page 249 Effect > Artistic Simulate a painterly appearance on traditional media.
USING ADOBE ILLUSTRATOR CS4 358 Creating special effects Effect Action Effect > Stylize Add arrowheads, drop shadows, round corners, feathered-edged, glowing, and scribble-styled appearances to objects.
USING ADOBE ILLUSTRATOR CS4 359 Creating special effects Rough Pastels Makes an image appear as if stroked with colored pastel chalk on a textured background. In areas of bright color, the chalk appears thick with little texture; in darker areas, the chalk appears scraped off to reveal the texture. Smudge Stick Softens an image using short diagonal strokes to smudge or smear the darker areas of the images. Lighter areas become brighter and lose detail.
USING ADOBE ILLUSTRATOR CS4 360 Creating special effects Crosshatch Preserves the details and features of the original image while adding texture and roughening the edges of the colored areas in the image with simulated pencil hatching. The Strength option controls the number of hatching passes (from 1 to 3). Dark Strokes Paints dark areas of an image closer to black with short strokes, and paints lighter areas of the image with long, white strokes.
USING ADOBE ILLUSTRATOR CS4 361 Creating special effects Pointillize Breaks up the color in an image into randomly placed dots, as in a pointillist painting, and uses the background color as a canvas area between the dots. See also “Effects quick reference” on page 357 Sharpen effect The Unsharp Mask command in the Sharpen submenu in the Effect menu focuses blurry images by increasing the contrast of adjacent pixels.
USING ADOBE ILLUSTRATOR CS4 362 Creating special effects Stamp Simplifies the image to appear stamped with a rubber or wood stamp. This command is best used with blackand-white images. Torn Edges Reconstructs the image as ragged, torn pieces of paper, and then colorizes the image using black and white. This command is useful for images consisting of text or high-contrast objects. Water Paper Uses blotchy daubs that appear painted onto fibrous, damp paper, causing the colors to flow and blend.
USING ADOBE ILLUSTRATOR CS4 363 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. See also “Effects quick reference” on page 357 Use texture and glass surface controls Some effects included in Illustrator have texturizing options, such as the Glass, Rough Pastels, Grain, and Fresco effects.
USING ADOBE ILLUSTRATOR CS4 364 Creating special effects “About effects” on page 354 “About blending modes” on page 182 Apply an inner or outer glow 1 Select an object or group (or target a layer in the Layers panel). 2 Choose Effect > Stylize > Inner Glow or Effect > Stylize > Outer Glow. 3 Click the color preview square next to the blending mode menu to specify a color for the glow. 4 Set additional options, and click OK: Mode Specifies a blending mode for the glow.
USING ADOBE ILLUSTRATOR CS4 365 Creating special effects See also “About effects” on page 354 “Targeting items for appearance attributes” on page 350 “About raster effects” on page 355 “Selecting objects” on page 197 Creating sketches and mosaics Create a sketch using the Scribble effect 1 Do one of the following: • Select the object or group (or target a layer in the Layers panel).
USING ADOBE ILLUSTRATOR CS4 366 Creating special effects Create a mosaic 1 Import a bitmap image to use as the basis for the mosaic. The image must be embedded, not linked. You can also rasterize a vector object to use it as the basis for the mosaic. 2 Select the image. 3 Choose Object > Create Object Mosaic. 4 If you want to change the dimensions of the mosaic, enter values for New Size.
USING ADOBE ILLUSTRATOR CS4 367 Creating special effects Graphic Styles panel overview You use the Graphic Styles panel (Window > Graphic Styles) to create, name, and apply sets of appearance attributes. The panel lists a default set of graphic styles when you create a document. Graphic styles that are saved with the active document appear in the panel when that document is open and active.
USING ADOBE ILLUSTRATOR CS4 368 Creating special effects Create graphic styles You can create a graphic from scratch by applying appearance attributes to an object, or you can base a graphic style on other graphic styles. You can also duplicate existing graphic styles. Create a graphic style 1 Select an object and apply any combination of appearance attributes, including fills and strokes, effects, and transparency settings.
USING ADOBE ILLUSTRATOR CS4 369 Creating special effects 3 To merge a style with an object’s existing style attributes, or apply multiple styles to an object, do either of the following: • Alt-drag (Windows) or Option-drag (Mac OS) the style from the Graphic Styles panel to the object. • Select the object, and then Alt-click (Windows) or Option-click (Mac OS) the style in the Graphic Styles panel.
USING ADOBE ILLUSTRATOR CS4 370 Creating special effects Break the link to a graphic style 1 Select the object, group, or layer that has the graphic style applied to it. 2 Do one of the following: • Choose Break Link To Graphic Style from the Graphic Styles panel menu, or click the Break Link To Graphic Style button in the panel. • Change any appearance attribute of the selection (such as a fill, stroke, transparency, or effect).
371 Chapter 12: Web graphics Adobe Illustrator provides a variety of tools for laying out a web page, and for creating and optimizing web graphics. Best practices for creating web graphics About web graphics When designing graphics for the web, you must consider different issues than when designing graphics for print. For a video on saving graphics for the web, see www.adobe.com/go/vid0063. For a video on importing, and copying and pasting between web applications, see www.adobe.com/go/vid0193.
USING ADOBE ILLUSTRATOR CS4 372 Web graphics To understand how Illustrator divides objects into pixels, open a file that contains vector objects, choose View > Pixel Preview, and magnify the artwork so that you can see its individual pixels. The placement of pixels is determined by an invisible grid that divides the artboard into 1-point (1/72 inch) increments. If you move, add, or transform an object, you’ll notice that the object snaps to the pixel grid.
USING ADOBE ILLUSTRATOR CS4 373 Web graphics 6 Click Create. The selected application opens with a new mobile document ready to edit. Create mobile content with Adobe Device Central and Illustrator 1 In Illustrator, select File > New. 2 In New Document Profile, select Mobile and Devices. 3 Click Device Central to close the dialog box in Illustrator and open Device Central. 4 Select a content type.
USING ADOBE ILLUSTRATOR CS4 374 Web graphics • Work within the final dimensions of your target mobile device(s) from the beginning. Although SVG is scalable, working within the correct size will ensure that final graphics are optimized in quality and size for the target device(s). • Set Illustrator color mode to RGB. SVG is viewed on RGB raster display devices, such as a monitors. • To reduce file size, try reducing the number of objects (including groups) or making it less complex (fewer points).
USING ADOBE ILLUSTRATOR CS4 375 Web graphics A B C Gear Clothing Camping Gear Backpacks Lighting Tents Slee Sliced artwork using different slice types A. No Image slice B. Image slice C. HTML Text slice You can view slices on the artboard and in the Save For Web & Devices dialog box. Illustrator numbers slices from left to right and top to bottom, beginning in the upper left corner of the artwork.
USING ADOBE ILLUSTRATOR CS4 376 Web graphics Select slices Use the Slice Select tool to select a slice in the illustration window or the Save For Web & Devices dialog box. • To select a slice, click it. • To select multiple slices, Shift-click. (In the Save For Web & Devices dialog box, you can also Shift-drag.) • To select an underlying slice when working with overlapping slices, click the visible section of it.
USING ADOBE ILLUSTRATOR CS4 377 Web graphics 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. See also “Layers panel overview” on page 215 Adjust slice boundaries If you created a slice using the Object > Slice > Make command, the position and size of the slice is tied to the artwork it contains.
USING ADOBE ILLUSTRATOR CS4 378 Web graphics • 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.
USING ADOBE ILLUSTRATOR CS4 379 Web graphics How you set up your artwork in Illustrator will affect the resulting SVG file. Keep in mind the following guidelines: • Use layers to add structure to an SVG file. When you save artwork in SVG format, each layer is converted to a group () element. (For example, a layer named Button1 becomes in the SVG file.) Nested layers become SVG nested groups, and hidden layers are preserved with the SVG styling property “display:none”.
USING ADOBE ILLUSTRATOR CS4 380 Web graphics Important: 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. See also “About raster effects” on page 355 “Modify or delete an effect” on page 356 Import effects from an SVG file 1 Choose Effect > SVG Filter > Import SVG Filter.
USING ADOBE ILLUSTRATOR CS4 381 Web graphics onmousedown Triggers the action when the mouse button is pressed down over an element. onmouseup Triggers the action when the mouse button is released over an element. onclick Triggers the action when the mouse is clicked over an element. onmouseover Triggers the action when the pointer is moved onto an element. onmousemove Triggers the action while the pointer is over an element. onmouseout Triggers the action when the pointer is moved away from an element.
USING ADOBE ILLUSTRATOR CS4 382 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.
USING ADOBE ILLUSTRATOR CS4 383 Web graphics See also “About symbols” on page 81 “Release items to separate layers” on page 218 “Flash export options” on page 276 “SWF optimization options (Illustrator)” on page 398 Working with Illustrator and Flash You can move Illustrator artwork into the Flash editing environment or directly into Flash Player. You can copy and paste artwork, save files in SWF format, or export artwork directly to Flash.
USING ADOBE ILLUSTRATOR CS4 384 Web graphics Importing Illustrator files into Flash When you want to create complete layouts in Illustrator and then import them into Flash in one step, you can save your artwork in the native Illustrator format (AI) and import it, with high fidelity, into Flash using the File > Import To Stage or File > Import To Library commands in Flash.
USING ADOBE ILLUSTRATOR CS4 385 Web graphics A C B D E F G H I Save For Web & Devices dialog box A. Display options B. Toolbox C. Optimize pop-up menu D. Color Table pop-up menu E. Animation controls (Photoshop only) F. Zoom text box G. Preview In Browser menu H. Original image I. Optimized image Preview images in the dialog box ❖ Click a tab at the top of the image area to select a display option: Original Displays the image with no optimization.
USING ADOBE ILLUSTRATOR CS4 386 Web graphics View optimized image information and download time The annotation area below each image in the Save For Web & Devices dialog box provides optimization information. The annotation for the original image shows the file name and file size. The annotation for the optimized image shows the current optimization options, the size of the optimized file, and the estimated download time using the selected modem speed.
USING ADOBE ILLUSTRATOR CS4 387 Web graphics • If your image contains multiple slices, select an option for saving slices from the Slices menu: All Slices or Selected Slices. To reset optimization settings to the last saved version, press Alt (Windows) or Option (Mac OS), and click Reset. To keep the same settings the next time you open the Save For Web & Devices dialog box, press Alt/Option and click Remember. For a video on saving files for the web in Illustrator, see www.adobe.com/go/vid0063.
USING ADOBE ILLUSTRATOR CS4 388 Web graphics • To view slice options in the Save For Web & Devices dialog box, select the Slice Select tool, and double-click a slice. • To link slices, select two or more slices and choose Link Slices from the Optimize pop-up menu of the Preset menu). The link icon (to the right appears on the linked slices. • To unlink a slice, select the slice, and then choose Unlink Slice from the Optimize pop-up menu.
USING ADOBE ILLUSTRATOR CS4 389 Web graphics The Layers palette in the Save For Web & Devices dialog box gives you control over which top-level layers in your artwork are exported as CSS layers, and whether exported layers are visible or hidden. 1 Click the Layers tab in the Save For Web & Devices dialog box. 2 Select Export As CSS Layers. 3 Select a layer from the Layer pop-up menu, and set the following options as desired: Visible Creates a visible CSS layer in the resulting HTML file.
USING ADOBE ILLUSTRATOR CS4 390 Web graphics C A B Optimization settings for JPEG A. File Format menu B. Compression Quality menu C. Optimize menu Quality Determines the level of compression. The higher the Quality setting, the more detail the compression algorithm preserves. However, using a high Quality setting results in a larger file size than using a low Quality setting. View the optimized image at several quality settings to determine the best balance of quality and file size.
USING ADOBE ILLUSTRATOR CS4 391 Web graphics In addition to the following options, you can also adjust the number of colors in the image’s color table. See “Customize the color table for GIF and PNG-8 images” on page 394. D A B C Optimization settings for GIF A. File Format menu B. Color Reduction Algorithm menu C. Dithering Algorithm menu D. Optimize menu Lossy (GIF only) Reduces file size by selectively discarding data. A higher Lossy setting results in more data being discarded.
USING ADOBE ILLUSTRATOR CS4 392 Web graphics GIF image with 0% dither (left), and with 100% dither (right) You can select one of the following dithering methods: • Diffusion Applies a random pattern that is usually less noticeable than Pattern dither. The dither effects are diffused across adjacent pixels. • Pattern Applies a halftone-like square pattern to simulate any colors not in the color table.
USING ADOBE ILLUSTRATOR CS4 393 Web graphics A B C D Examples of transparency and matting A. Original image B. Transparency selected with a matte color C. Transparency selected with no matting D. Transparency deselected with a matte color Transparency Dithering When the Transparency option is selected, you can choose a method for dithering partially transparent pixels: • No Transparency Dither applies no dither to partially transparent pixels in the image.
USING ADOBE ILLUSTRATOR CS4 394 Web graphics Web Snap Specifies a tolerance level for shifting colors to the closest web palette equivalents (and prevent the colors from dithering in a browser). A higher value shifts more colors. See also “Optimize an image for the web” on page 386 Optimize transparency in GIF and PNG images Transparency makes it possible to create nonrectangular images for the web. Background transparency preserves transparent pixels in the image.
USING ADOBE ILLUSTRATOR CS4 395 Web graphics Sort a color table Choose a sorting order from the Color Table palette menu: • Unsorted restores the original sorting order. • Sort By Hue sorts by the location of the color on the standard color wheel (expressed as a degree from 0 to 360). Neutral colors are assigned a hue of 0 and located with the reds. • Sort By Luminance sorts by the lightness or brightness of a color. • Sort By Popularity sorts by the colors’ frequency of occurrence in the image.
USING ADOBE ILLUSTRATOR CS4 396 Web graphics The original color appears at the upper left of the color swatch and the new color at the lower right. The small square at the lower right of the color swatch indicates that the color is locked. If you shift to a web-safe color, a small white diamond appears at the center of the swatch. 3 To revert a shifted color to its original color, do one of the following: • Double-click the swatch for the shifted color. The original color is selected in the color picker.
USING ADOBE ILLUSTRATOR CS4 397 Web graphics Note: Locking colors does not prevent them from dithering in a browser. 1 Select one or more colors in the color table. 2 Lock the color by doing one of the following: • Click the Lock button . • Choose Lock/Unlock Selected Colors from the Color Table palette menu. A white square appears in the lower right corner of each locked color. 3 Unlock the color by doing one of the following: • Click the Lock button .
USING ADOBE ILLUSTRATOR CS4 398 Web graphics PNG-24 optimization options PNG-24 is suitable for compressing continuous-tone images; however, it produces much larger files than JPEG format. The advantage of using PNG-24 is that it can preserve up to 256 levels of transparency in an image. Transparency and Matte Determine how transparent pixels in the image are optimized. See “Optimize transparency in GIF and PNG images” on page 394.
USING ADOBE ILLUSTRATOR CS4 399 Web graphics A B C Optimization settings for SWF A. File format menu B. Flash Player menu C. Export menu Preset Specifies the preconfigured set of options you want to use for export. You can create new presets by setting options as desired, and then choosing Save Settings from the panel menu. (To open the panel menu, click the triangle to the right of the Preset menu.) Flash Player Version Specifies the earliest version of Flash Player that will support the exported file.
USING ADOBE ILLUSTRATOR CS4 400 Web graphics A B C F D G E Optimization settings for SVG A. File format menu B. SVG Profiles menu C. Font Subsetting menu D. Image Location menu E. CSS Properties menu F. Font Type menu G. Encoding menu Compressed Creates a Compressed SVG (SVGZ) file. SVG Profiles Specifies the SVG XML Document Type Definition for the exported file. • SVG 1.0 and SVG 1.1 Suitable for SVG files to be viewed on a desktop computer. SVG 1.
USING ADOBE ILLUSTRATOR CS4 401 Web graphics CSS Properties Determines how CSS style attributes are saved in the SVG code. The default method, Presentation Attributes, applies properties at the highest point in the hierarchy, allowing the most flexibility for specific edits and transformations. The Style Attributes method creates the most readable files but may increase file size.
USING ADOBE ILLUSTRATOR CS4 402 Web graphics Attribute Case Specifies the capitalization for attributes. Indent Specifies a method for indenting lines of code: using the authoring application’s tab settings, using a specified number of spaces, or using no indention. Line Endings Specifies a platform for line ending compatibility. Encoding Specifies a default character encoding for the web page. Include Comments Adds explanatory comments to the HTML code.
USING ADOBE ILLUSTRATOR CS4 403 Web graphics Background output settings You can set the following options in the Background set of the Output Settings dialog box: View Document As Select Image if you want the web page to display an image or a solid color as a background behind the current image. Select Background if you want the web page to display the optimized image as a tiled background. Background Image Enter the location of an image file, or click Choose and select an image.
404 Chapter 13: 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.
USING ADOBE ILLUSTRATOR CS4 405 Printing Make artwork nonprintable The Layers panel makes it easy to print different versions of your artwork. For example, you can choose to print only the type objects in a document in order to proof your text. You can also add nonprinting elements to artwork to record important information. • To prevent artwork from displaying in the document window, printing, and exporting, hide the corresponding items in the Layers panel.
USING ADOBE ILLUSTRATOR CS4 406 Printing • Click a square or arrow on the Placement icon to specify the origin point for aligning the artwork in relation to the page. Enter values for Origin X and Origin Y to fine-tune the position of the artwork. To move the printable area directly on the artboard, drag in the illustration window with the Print Tiling tool. As you drag, the Print Tiling tool responds as if you were moving the printable area from its lower left corner.
USING ADOBE ILLUSTRATOR CS4 407 Printing Change the page size and orientation Adobe Illustrator normally uses the default page size defined by the PPD file for the selected printer. However, you can change the media size to any of the sizes listed in the PPD file as well as specify portrait (vertical) or landscape (horizontal) orientation. The largest page size you can specify depends on the maximum imageable area of your imagesetter.
USING ADOBE ILLUSTRATOR CS4 408 Printing 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.
USING ADOBE ILLUSTRATOR CS4 409 Printing Note: Some imagesetters and desktop laser printers use screening technologies other than halftoning. If you are printing an image on a nonhalftone printer, consult your service provider or your printer documentation for the recommended resolutions.
USING ADOBE ILLUSTRATOR CS4 410 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.
USING ADOBE ILLUSTRATOR CS4 411 Printing 2 Select a printer and PPD file. To print to a file instead of a printer, select Adobe PostScript® File or Adobe PDF. 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.
USING ADOBE ILLUSTRATOR CS4 412 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.
USING ADOBE ILLUSTRATOR CS4 413 Printing A B C E D F Printer’s marks 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.
USING ADOBE ILLUSTRATOR CS4 414 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 to make all the values the same. • 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.
USING ADOBE ILLUSTRATOR CS4 415 Printing Printing long, complex paths If you are printing Adobe Illustrator files containing overly long or complicated paths, the file may not print and you may receive limit-check error messages from your printer. To simplify long, complex paths, you can split them into two or more separate paths. You can also change the number of line segments used to approximate curves and adjust the printer resolution.
USING ADOBE ILLUSTRATOR CS4 416 Printing 2 For Printer, select a PostScript printer, Adobe PostScript® File, or Adobe PDF. 3 Select Graphics on the left side of the Print dialog box, and select a Download option: None Includes a reference to the font in the PostScript file which tells the RIP or a post-processor where the font should be included. This option is appropriate if the fonts reside in the printer.
USING ADOBE ILLUSTRATOR CS4 417 Printing 2 Select Color Management on the left side of the Print dialog box. 3 For Color Handling, choose Let Illustrator Determine Colors. 4 For Printer Profile, select the profile for your output device. The more accurately the profile describes the behavior of an output device and printing conditions (such as paper type), the more accurately the color management system can translate the numeric values of the actual colors in a document.
USING ADOBE ILLUSTRATOR CS4 418 Printing • In Mac OS, select the printer you are using, and select the color management option from the pop-up menu. For most printer drivers, this option is labeled ColorSync. 8 Specify the color management settings to let your printer driver handle the color management during printing. Every printer driver has different color management options. If it’s not clear how to set color management options, consult your printer documentation.
USING ADOBE ILLUSTRATOR CS4 419 Printing Setting the proper screen frequency for printing gradients, meshes, and blends When printing your file, you may find that the resolution of your printer, when combined with the chosen screen frequency, allows fewer than 256 levels of gray. A higher screen frequency decreases the levels of gray available to the printer. For example, if you are printing at a resolution of 2400 dpi, using a line screen higher than 150 results in fewer than 256 levels of gray.
USING ADOBE ILLUSTRATOR CS4 420 Printing When blending process colors, use the largest change that occurs within any one color. For instance, take a blend from 20% cyan, 30% magenta, 80% yellow, and 60% black to 20% cyan, 90% magenta, 70% yellow, and 40% black. This indicates a 60% change, because the greatest change occurs in magenta—from 30% to 90%. 4 Using the number of steps calculated in step 3, see if the length of the gradient is larger than the relevant maximum length indicated in the next chart.
USING ADOBE ILLUSTRATOR CS4 421 Printing Printing and saving transparent artwork About flattening If your document or artwork contains transparency, to be output it usually needs to undergo a process called flattening. Flattening divides transparent artwork into vector-based areas and rasterized areas. As artwork becomes more complex (mixing images, vectors, type, spot colors, overprinting, and so on), so does the flattening and its results.
USING ADOBE ILLUSTRATOR CS4 422 Printing • Export a file that contains transparency to a vector format that does not understand transparency (such as EMF or WMF). • Copy and paste transparent art from Illustrator into another application with both the AICB and the Preserve Appearance options checked (in the File Handling & Clipboard section of the Preferences dialog box). • Export in SWF (Flash) or use the Flatten Transparency command with the Preserve Alpha Transparency option selected.
USING ADOBE ILLUSTRATOR CS4 423 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.
USING ADOBE ILLUSTRATOR CS4 424 Printing object remains in vector form. However, selecting this option may result in paths that are too complex for the printer to handle. Stitching, where rasters and vectors meet. 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.
USING ADOBE ILLUSTRATOR CS4 425 Printing 4 If the artwork contains overprinted objects that interact with transparent objects, in Illustrator, select an option from the Overprints menu. You can preserve, simulate, or discard overprints. In Acrobat, choose Preserve Overprint to blend the color of transparent artwork with the background color to create an overprint effect. 5 At any time, click Refresh to display a fresh preview version based on your settings.
USING ADOBE ILLUSTRATOR CS4 426 Printing About transparency flattener presets If you regularly print or export documents that contain transparency, you can automate the flattening process by saving flattening settings in a transparency flattener preset. You can then apply these settings for print output as well as for saving and exporting files to PDF 1.3 (Acrobat 4.0) and EPS and PostScript formats.
USING ADOBE ILLUSTRATOR CS4 427 Printing 3 Do one of the following: • To export a preset to a separate file, click Save (InDesign) or Export (Illustrator), specify a name and location, and then click Save. Consider saving the preset outside of the application’s preferences folder. That way, it won’t be lost if you delete your preferences. • To import presets from a file, click Load (InDesign) or Import (Illustrator). Locate and select the file containing the preset you want to load, and then click Open.
USING ADOBE ILLUSTRATOR CS4 428 Printing Overprinting About overprinting By default, when you print opaque, overlapping colors, the top color knocks out the area underneath. You can use overprinting to prevent knockout and make the topmost overlapping printing ink appear transparent in relation to the underlying ink. The degree of transparency in printing depends on the ink, paper, and printing method used. Consult your print shop to determine how these variables will affect your final artwork.
USING ADOBE ILLUSTRATOR CS4 429 Printing 2 Choose Edit > Edit Colors > Overprint Black. 3 Enter the percentage of black you want to overprint. All objects with the specified percentage will overprint. 4 Select Fill, Stroke, or both to specify how to apply the overprinting. 5 To overprint process colors that include cyan, magenta, or yellow as well as the specified percentage of black, select Include Blacks with CMY.
USING ADOBE ILLUSTRATOR CS4 430 Printing Trapping type can present special problems. Avoid applying mixed process colors or tints of process colors to type at small point sizes, because any misregistration can make the text difficult to read. Likewise, trapping type at small point sizes can result in hard-to-read type. As with tint reduction, check with your print shop before trapping such type.
USING ADOBE ILLUSTRATOR CS4 431 Printing print shop for help in determining this value. The default value of 100% results in the same trap width on horizontal lines and on vertical lines. To increase the trap thickness on horizontal lines without changing the vertical trap, set the Height/Width value to greater than 100%. To decrease the trap thickness on horizontal lines without changing the vertical trap, set the Height/Width value to less than 100%.
USING ADOBE ILLUSTRATOR CS4 432 Printing A B C D Object stroked with fill color A. Overprinted stroke creates spread trap B. Fill creates knockout C. Area of trap D. Area of knockout • Create a choke by entering the same color values for the Stroke as appear in the lighter background (again, using the Color panel); the Stroke and Fill values will differ. This method reduces the darker object by stroking its boundaries with the lighter background color. 3 Choose Window > Stroke.
USING ADOBE ILLUSTRATOR CS4 433 Printing A B C D Copy of stroke used for spread trap 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.
USING ADOBE ILLUSTRATOR CS4 434 Printing • 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. Then click OK again. Apply print presets 1 Choose File > Print. 2 Choose a print preset from the Print Preset menu. If you like, confirm the printer settings in the Print dialog box. 3 Click Print.
USING ADOBE ILLUSTRATOR CS4 435 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.
436 Chapter 14: Automating tasks Automating tasks can save you time and ensure consistent results for many types of operations. Illustrator provides a variety of ways to automate tasks by using actions, scripts, and data-driven graphics. Actions Actions panel overview You use the Actions panel (Window > Actions) to record, play, edit, and delete individual actions. This panel also lets you save and load action files. A B C D E Photoshop Actions panel A. Action set B. Action C. Recorded commands D.
USING ADOBE ILLUSTRATOR CS4 437 Automating tasks 2 Do one of the following: • (Illustrator) To play a set of actions, select the set name, and click the Play button in the Actions panel, or choose Play from the panel menu. • To play an entire single action, select the action name, and click the Play button in the Actions panel, or choose Play from the panel menu. • If you assigned a key combination to the action, press that combination to play the action automatically.
USING ADOBE ILLUSTRATOR CS4 438 Automating tasks Insert nonrecordable tasks into actions Not all tasks in actions can be recorded directly. For example, you can’t record commands in the Effects and View menus, commands that display or hide panels, and use of the Selection, Pen, Paintbrush, Pencil, Gradient, Mesh, Eyedropper, Live Paint Bucket, and Scissors tools. To tell which tasks cannot be recorded, watch the Actions panel.
USING ADOBE ILLUSTRATOR CS4 439 Automating tasks 5 Click OK. You can insert a stop when recording an action or after it has been recorded. Change settings when playing an action By default, actions are completed using the values specified when they were originally recorded. If you want to change the settings for a command within an action, you can insert a modal control. A modal control pauses an action so that you can specify values in a dialog box or use a modal tool.
USING ADOBE ILLUSTRATOR CS4 440 Automating tasks Step By Step Completes each command and redraws the image before going on to the next command in the action. Pause For __ Seconds Specifies the amount of time the application should pause between carrying out each command in the action. Edit and rerecord actions It is easy to edit and customize actions.
USING ADOBE ILLUSTRATOR CS4 441 Automating tasks Save a set of actions 1 Select a set. If you want to save a single action, first create an action set and move the action to the new set. 2 Choose Save Actions from the Actions panel menu. 3 Type a name for the set, choose a location, and click Save. You can save the file anywhere. You can save only the entire contents of a set in the Actions panel, not individual actions.
USING ADOBE ILLUSTRATOR CS4 442 Automating tasks Important: The Replace Actions command replaces all sets of actions in the current document. Before using the command, make sure that you have already saved a copy of your current set of actions using the Save Actions command. Play an action on a batch of files The Batch command lets you play an action on a folder of files and subfolders. You can also use the Batch command to populate a template for data-driven graphics with different sets of data.
USING ADOBE ILLUSTRATOR CS4 443 Automating tasks If you select Data Sets for Source, you can set an option for generating file names when overriding Save and Export commands: File + Number Generates the filename by taking the original document’s filename, removing any extension, and then appending a three-digit number corresponding to the data set.
USING ADOBE ILLUSTRATOR CS4 444 Automating tasks Data-driven graphics About data-driven graphics Data-driven graphics make it possible to produce multiple versions of artwork quickly and accurately. Let’s say, for example, that you need to produce 500 different web banners based on the same template. Instead of manually populating the template with data (images, text, and so on), data-driven graphics let you use a script referencing a database to generate the web banners for you.
USING ADOBE ILLUSTRATOR CS4 445 Automating tasks • 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. A variable’s type indicates which object attributes are changeable (dynamic).
USING ADOBE ILLUSTRATOR CS4 446 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.
USING ADOBE ILLUSTRATOR CS4 447 Automating tasks Identifying dynamic objects using XML IDs The Variables panel displays the names of dynamic objects as they appear in the Layers panel. If you save the template in SVG format for use with other Adobe products, these object names must conform to XML naming conventions. For example, XML names must begin with a letter, underscore, or colon, and cannot contain spaces. Illustrator automatically assigns a valid XML ID to every dynamic object you create.
USING ADOBE ILLUSTRATOR CS4 448 Automating tasks About variable libraries In a collaborative environment, coordination between team members is essential to the success of a project. For example, in a company that creates websites, the web designer is responsible for the look and feel of the site, while the web developer is responsible for the underlying code and scripting. If the designer changes the layout of the web page, those changes must be communicated to the developer.
449 Chapter 15: 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. Creating graphs 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.
USING ADOBE ILLUSTRATOR CS4 450 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.
USING ADOBE ILLUSTRATOR CS4 451 Graphs Use graph labels and data sets Labels are words or numbers that describe two things: the sets of data you want to compare, and the categories across which you want to compare them. For column, stacked column, bar, stacked bar, line, area, and radar graphs, you enter labels in the worksheet as follows: A B C Labels in Graph Data window A. Data set labels B. Blank cell C.
USING ADOBE ILLUSTRATOR CS4 452 Graphs Group A Group B 30 25 20 15 10 40 60 80 100 Scatter graph data • Enter data-set labels in every other cell along the top row of the worksheet, starting with the first cell. These labels will appear in the legend. • Enter y-axis data in the first column and x-axis data in the second column. Enter data sets for pie graphs You organize data sets for pie graphs similarly to other graphs. However, each row of data in the worksheet generates a separate graph.
USING ADOBE ILLUSTRATOR CS4 453 Graphs appear as columns extending below the horizontal axis. For stacked column graphs, numbers must be all positive or all negative. Line graphs Each column of data corresponds to one line in the line graph. You can combine positive and negative values in a line graph. Area graphs Values must be all positive or all negative. Each row of data entered corresponds to a filled area on the area graph. Area graphs add each column’s values to the previous column’s totals.
USING ADOBE ILLUSTRATOR CS4 454 Graphs Format a graph’s axes With the exception of pie graphs, all graphs have a value axis which displays the unit of measurement for the graph. You can choose to display the value axis on one side or both sides of the graph. Bar, stacked bar, column, stacked column, line, and area graphs also have a category axis which defines the categories of data in the graph.
USING ADOBE ILLUSTRATOR CS4 455 Graphs 2 Choose Object > Graph > Type, or double-click the graph tool in the Tools panel. 3 To adjust the space between columns and bars in a column, stacked column, bar, or stacked bar graph, enter a value between 1% and 1000% in the Column Width, Bar Width, or Cluster Width text box. A value greater than 100% causes the columns, bars, or clusters to overlap one another. A value less than 100% leaves space between the columns, bars, or clusters.
USING ADOBE ILLUSTRATOR CS4 456 Graphs 2 Choose Object > Graph > Type, or double-click the graph tool in the Tools panel. 3 In the Graph Type dialog box, select Add Legend Across Top, and click OK. Format pie graphs You can change the placement of the legend and how wedges are sorted in pie graphs. You can also specify how you want to display multiple pie graphs. 1 Select the graph with the Selection tool. 2 Choose Object > Graph > Type, or double-click the graph tool in the Tools panel.
USING ADOBE ILLUSTRATOR CS4 457 Graphs Retail and Wholesale Price Index Varietal Retail Price per Unit Product A Product B Product C 250% Retail $25 Wholesale 200% $20 150% $15 100% $10 50% $5 0% 1980 1990 2000 $0 Combining columns and lines in one graph 1 Select the Group Selection tool . 2 Click the legend for the data whose graph type you want to change. 3 Without moving the Group Selection tool pointer from the legend, click again.
USING ADOBE ILLUSTRATOR CS4 458 Graphs Adding pictures and symbols to graphs About graph designs You use graph designs to add illustrations to columns and markers. Graph designs can be simple drawings, logos, or other symbols representing values in a graph; they can also be complex objects that contain patterns and guide objects. Illustrator comes with a variety of preset graph designs. In addition, you can create new graph designs and store them in the Graph Design dialog box.
USING ADOBE ILLUSTRATOR CS4 459 Graphs Import a column or marker design Illustrator comes with a variety of preset designs that you can use in your graphs. You can also transfer the graph designs you create between documents. 1 Choose Window > Swatch Libraries > Other Library. 2 Do one of the following: • To import preset graph designs, navigate to the Cool Extras/Sample Files/Graph Designs folder inside the Illustrator application folder. Then select a graph designs file, and click Open.
USING ADOBE ILLUSTRATOR CS4 460 Graphs 8 Choose View > Guides > Lock Guides to remove the check mark next to Lock so you can unlock the guides. Move the design around to make sure that the guide moves with the design. 9 Use the Selection tool to select the whole design. 10 Choose Object > Graph > Design. 11 Click New Design. A preview of the selected design appears. 12 Click Rename to name the design. Add totals to a column design 1 Create the column design. 2 Select the Type tool .
USING ADOBE ILLUSTRATOR CS4 461 Graphs 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. 3 Once you’ve got the marker design the way you want it, select the design, choose Object > Graph > Design, and click New Design. 4 Click Rename to name the design. Apply a column design to a graph 1 Create or import the column design.
USING ADOBE ILLUSTRATOR CS4 462 Graphs If you don’t have the original artwork defined as a graph design, you can retrieve the original by pasting the graph design into your artwork. 1 Choose Select > Deselect to deselect all of the artwork. 2 Choose Object > Graph > Design. 3 Select the graph design that you want to paste into your artwork, and click Paste Design. 4 Click OK. The graph design is pasted into your artwork. You can now edit it and define it as a new graph design.
463 Chapter 16: 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. Customizing keyboard shortcuts Customize keyboard shortcuts Illustrator lets you view a list of all shortcuts, and edit or create shortcuts.
USING ADOBE ILLUSTRATOR CS4 464 Keyboard shortcuts Default keyboard shortcuts Keys for selecting tools Result Windows Mac OS Artboard tool Shift + O Shift + O Selection tool V V Direct Selection tool A A Magic Wand tool Y Y Lasso tool Q Q Pen tool P P Blob Brush tool Shift + B Shift + B Add Anchor Point tool + (plus) + (plus) Delete Anchor Point tool - (minus) - (minus) Convert Anchor Point tool Shift + C Shift + C Type tool T T Line Segment tool \ (backslash) Rectangl
USING ADOBE ILLUSTRATOR CS4 465 Keyboard shortcuts Result Windows Mac OS Scissors tool C C Hand tool H H Zoom tool Z Z Switch to Smooth tool while using Blob Brush tool Press Alt Press Option Keys for viewing artwork 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.
USING ADOBE ILLUSTRATOR CS4 466 Keyboard shortcuts Keys for drawing 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.
USING ADOBE ILLUSTRATOR CS4 467 Keyboard shortcuts Result Windows Mac OS Create and expand a Live Trace object in one step Alt-click Live Trace in the Control panel, or hold down Alt and select a tracing preset. Option-click Live Trace in the Control panel, or hold down Option and select a tracing preset.
USING ADOBE ILLUSTRATOR CS4 468 Keyboard shortcuts Result Windows Mac OS Move selection in 10x user-defined increments Shift + Right Arrow, Left Arrow, Up Arrow, or Shift + Right Arrow, Left Arrow, Up Arrow, or Down Arrow Down Arrow Lock all deselected artwork Ctrl + Alt + Shift + 2 Command + Option + Shift + 2 Constrain movement to 45° angle (except when using Reflect tool) Hold down Shift Hold down Shift Set keyboard increments in General Preferences Keys for editing shapes This is not a comp
USING ADOBE ILLUSTRATOR CS4 469 Keyboard shortcuts Result Windows Mac OS Sample style and append appearance of currently selected item Alt + Shift-click + Eyedropper tool Option + Shift-click + Eyedropper tool Add new fill Ctrl + / (forward slash) Command + / (forward slash) Add new stroke Ctrl + Alt + / (forward slash) Command + Option + / (forward slash) Reset gradient to black and white Ctrl-click gradient button in Tools panel or Gradient panel Command-click gradient button in Tools panel
USING ADOBE ILLUSTRATOR CS4 470 Keyboard shortcuts Result Windows Mac OS Set origin point and open dialog box when Alt-click using Rotate tool, Scale tool, Reflect tool, or Shear tool Option-click Duplicate and transform selection when Alt-drag using Selection tool, Scale tool, Reflect tool, or Shear tool Option-drag Transform pattern (independent of object) when using Selection tool, Scale tool, Reflect tool, or Shear tool Tilde (~)-drag Tilde (~)-drag Keys for working with type This is not a co
USING ADOBE ILLUSTRATOR CS4 471 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 Type, Path Alt-click Type tool Type and Area Type, and Ve
USING ADOBE ILLUSTRATOR CS4 472 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.
USING ADOBE ILLUSTRATOR CS4 473 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 Fil
USING ADOBE ILLUSTRATOR CS4 474 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 Select swatch by name (using keyboard) Ctrl + Alt-click in the swatch color list Command + Option-click in the swatch color list Keys for
USING ADOBE ILLUSTRATOR CS4 475 Keyboard shortcuts Result Windows Mac OS Show/hide Color panel F6 F6 Show/hide Layers panel F7 F7 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
476 Index Numerics 3D objects metadata in 292 AIT files 33 showing current file in 13 aki 338 about 249 Adobe ConncectNow 37 Align panel 210 custom bevels for 254 Adobe Exchange 4 alignment guides 47 extruding 249 Adobe Flash All Artwork Above (Hide) command 219 lighting 251 exporting text to 334 All Artwork Above (Lock) command 219 mapping images to surface 255 integration with Illustrator 383 all caps, in type 313 symbols 81, 84 All On Same Layers command 200 revolving 250 rotating
USING ADOBE ILLUSTRATOR CS4 477 Index in type 314 artwork bleeds preferences for artwork 46 copying from Photoshop 267 about 413 previewing 371 previewing in output medium 45 adding 413 in web graphics 388 viewing as outlines 44 clipping imported PDF to 263 when saving artwork 278, 279, 280 appearance attributes ASCII file format 293 saving in PDF files 287 Asian type.
USING ADOBE ILLUSTRATOR CS4 478 Index Brushes panel 170 Clip To Artboard command 377 color settings reference 148 colorization options 174 considerations for importing images 136 creating 172 clipboard, importing and exporting artwork with 222 expanding 172 clipping masks libraries of 170 about 241 modifying 173 creating 242, 243 considerations for process and spot colors 135 options for 76, 159, 173, 174, 175 modifying 243, 244 creating a viewing environment 132 types of 169 bunri-kinshi
USING ADOBE ILLUSTRATOR CS4 479 Index color settings selecting 99, 100, 101, 102 content, protecting 291 See also color management shifting to Web panel 396 contextual alternates 322 color conversions 151 spot 98, 103, 108 continuous-tone images, printing 409 color management policies 150 Swatches panel 103 Control panel 14 customizing 148 tints 103, 126 conversion settings, presets 283 web-safe 126, 371 Convert Anchor Point tool 23, 73 for Adobe applications 134 presets for 148 rendering
USING ADOBE ILLUSTRATOR CS4 480 Index data sets, creating 447 preferences 56 paths, with Pen tool 63, 65, 66 data-driven graphics showing and hiding 55 paths, with Pencil tool 61 specifying 55 polygons 58 See also variables about 52, 444 Distort & Transform effect 248 rectangles and squares 57 creating variables 445 distorting objects spirals 59 editing dynamic objects 446 effects 248 editing variables 445 envelopes 230 stars 58 saving templates for 448 Free Distort effect 248 creating
USING ADOBE ILLUSTRATOR CS4 481 Index embedded files See also linked files Extensible Metadata Platform (XMP) 291 Fill & Stroke (Select Same) command 160, 205 adding to a document 257 extra spaces, eliminating 317 Fill button 154 applying effects to 356 Extras 4 compared to linked files 257 extruding objects 249 Fill Color (Select Same) command 160, 205 converting from linked files 261 Eyedropper tool EMF file format 274 See also exporting artwork exporting text 334 about 25, 100 copying att
USING ADOBE ILLUSTRATOR CS4 482 Index font families 307 global colors creating 368 missing 309 process 103 deleting 369 OpenType 307 using Recolor Artwork dialog box instead 115 duplicating 368 previewing 308 Graphic Styles panel 367 Glowing Edges command 362 importing from another document 370 form fields, securing 291 glows, creating 364 libraries 369 four-color process printing 95 glyphs Override Character Color option 369 printer-resident 415 fractional character widths 320 about 3
USING ADOBE ILLUSTRATOR CS4 483 Index guides image exposure 412 aligning text and graphics 47 image maps, creating 378 showing and hiding 47 images Smart Guides 48 reszing in Save For Web dialog box 388 JPEG files export options for 278 optimization options 390 justified text, adjusting spacing 324 Guides & Grid preferences 47 imagesetting GyoumatsuYakumonoHankaku mojikumi set 341 Import SVG Filter command 380 K kerning 318, 319 importing keyboard shortcuts, customizing 463 GyoumatsuYakumon
USING ADOBE ILLUSTRATOR CS4 484 Index template 78 compared to embedded files 257 Make Text Wrap command 300 viewing as outlines 44 editing original file 261 Manage Workspaces command 19 Layers panel 351 embedding 261, 268 mapping 3D objects 255 leading placement options for 260 mapping colors to transparency 396 in Asian type 337 previews for EPS files 265 Marker command (graphs) 461 setting 318 relinking 260 marker designs.
USING ADOBE ILLUSTRATOR CS4 485 Index Smart Guides 48 rasterizing 273 previewing results 389 to a different layer 217 reflecting 213 saving presets 387 multinational language features 293 reshaping 230, 248 SVG options 400 Multiple Master fonts 308 rotating 211 multiple pages, creating PDF with 282 scaling 226 ordinals 317 Multiply blending mode 183 selecting 197 Other Layers (Hide) command 219 shearing 228 Other Layers (Lock) command 219 N Navigator panel 44 Smart Guides 48 Other Libr
USING ADOBE ILLUSTRATOR CS4 486 Index painting adjusting segments 68 PDF files See also colors, fills, Live Paint, strokes brushed 171 artboards 282 about 153 closing 63, 65 bleed 287 tools for 25 combining 69 compared to other formats 267 painting order.
USING ADOBE ILLUSTRATOR CS4 487 Index Photoshop.
USING ADOBE ILLUSTRATOR CS4 488 Index previewing 371 reshaping objects. See distorting objects, transforming Save Actions command 441 read me file 2 resizing objects.
USING ADOBE ILLUSTRATOR CS4 489 Index selecting layers 219 software anchor points 67 objects 219, 444, 446 activation 1 colors 100 objects, using variables 445 downloads 4 paths 68 rulers 46 PPD files 414 slices 378 Sort By Hue command 395 selecting objects registration 1 Smart Guides 49 Sort By Luminance command 395 about 197 tool tips 22 Sort By Popularity command 395 by characteristic 205 unselected artwork 465 spacer cells 402 by face or edge 204 sidecar files 291 by fill or p
USING ADOBE ILLUSTRATOR CS4 490 Index Stained Glass command 362 deleting 109 Stamp command 362 display and output of spot colors 127 T tabs Standard Screen mode 13 duplicating 108 adding leaders 332 Star tool 23, 58 gradient 108 decimal 331 static text 334 importing 106, 107 moving tab stops 331 status bar 13 libraries 105, 113 setting tab stops 330 stops, inserting in recordings 438 merging 109 showing and hiding 323 straight quotes 314, 317 options for 109 Tabs panel 329 Stray Poin
USING ADOBE ILLUSTRATOR CS4 491 Index TOYO color system 105 tritones, imported from PDF files 264 OpenType fonts 336 tracing artwork TrueType fonts 308 rotating half-width characters 337 adjusting tracing results 79 Trumatch color system 105 showing options for 336 converting tracing objects 81 tryouts 4 tate-chu-yoko 338 displaying tracing objects 79 tutorials 4 Unicode support 307 methods 77 Tweak effect 248 options 78, 79 Twirl tool 26 type, creating 294 presets 80 Twist effect 248
USING ADOBE ILLUSTRATOR CS4 492 Index strikethrough 313 Vertical Type On A Path tool 301 website templates 33 superscript and subscript 315 Vertical Type tool 25, 294, 301 Welcome screen, using 31 swashes 323 vertical type, converting to horizontal 305 windows transforming 304, 305 Video And Film new document profile 30 type on a path options 303, 304 Video effects 362 windows, creating multiple 45 underlining 313 video tutorials 4 WMF file format 275 wrapping around objects 299 views ty
