Adobe ILLUSTRATOR CS2 User Manual

Adobe ILLUSTRATOR CS2 is a powerful and versatile vector graphics editor that allows you to create professional-quality illustrations, logos, and other artwork. With its wide range of features and tools, Illustrator CS2 is perfect for both beginners and experienced designers alike.

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Chapter 1:

Copyright

Adobe® Illustrator® CS2 User Guide for Windows® and Macintosh

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. Except as permitted by any such license, no part of this guide may be reproduced, stored in a retrieval system, or trans mitted, in any form or by any means, electronic, mechanical, recording, or otherwise, without the prior written permission of Adobe Systems Incorporated. Please note that the content in this guide is protected under copyright law even if it is not distributed with software that includes an end user license agreement.

The content of this guide is furnished for informational use only, is subject to change without notice, and should not be construed as a commitment by Adobe Systems Incorpo rated. Adobe Systems Incorporated assumes no responsibility or liability for any errors or inaccuracies that may appear in the informational content contained in this guide.

Please remember that existing artwork or images that you may want to include in your project may be protected under copyright law. The unauthorized incorporation of such material into your new work could be a violation of the rights of the copyright owner. Please be sure to obtain any permission required from the copyright owner.

Any references to company names in sample templates are for demonstration purposes only and are not intended to refer to any actual organization.

Adobe, the Adobe logo, Acrobat, Adobe Type Manager, GoLive, Illustrator, ImageReady, InCopy, InDesign, the OpenType logo, Photomerge, Photoshop, PostScript, PostScript

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This product includes either BISAFE and/or TIPEM software by RSA Data Security, Inc. This product includes cryptographic software written by Eric Young

([email protected]). This software is based in part on the work of the Independent JPEG Group. Portions include technology used under license from Verity, Inc. and are copyrighted. © 1994 Hewlett Packard Company. © 1985, 1986 Regents of the University of California. All rights reserved. Portions of this code are licensed from Apple Computer,

Inc. under the terms of the Apple Public Source License Version 2. The source code version of the licensed code and the license are available at www.opensource.apple.com/apsl .

This product includes PHP, freely available from www.php.net

. This product includes the Zend Engine, freely available at www.zend.com

. This product includes software developed by Brian M. Clapper ([email protected]). © 1991 by the Massachusetts Institute of Technology. ©1996, 1995 by Open Software Foundation, Inc. 1997,1996, 1995, 1994,

PANTONE® Colors displayed in the software application or in the user documentation may not match PANTONE-identified standards.Consult current PANTONE Color Publi cations for accurate color. PANTONE® and other Pantone, Inc. trademarks are property of Pantone, Inc. © Pantone, Inc. 2003. Pantone, Inc. is the copyright owner of color data and/or software which are licensed to Adobe Systems Incorporated to distribute for use only in combination with Adobe Illustrator. PANTONE Color Data and/or Software shall not be copied onto another disk or into memory unless as part of the execution of Adobe Illustrator software. The Spelling portion of this product is based on Proximity Linguistic

Technology Inc.

Notice to U.S. Government End Users: The Software and Documentation are “Commercial Items,” as that term is defined at 48 C.F.R. §2.101, consisting of “Commercial

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48 C.F.R. §12.212 or 48 C.F.R. §§227.7202-1 through 227.7202-4, as applicable, the Commercial Computer Software and Commercial Computer Software Documentation are being licensed to U.S. Government end users (a) only as Commercial Items and (b) with only those rights as are granted to all other end users pursuant to the terms and conditions herein. Unpublished-rights reserved under the copyright laws of the United States. Adobe agrees to comply with all applicable equal opportunity laws including, if appropriate, the provisions of Executive Order 11246, as amended, Section 402 of the Vietnam Era Veterans Readjustment Assistance Act of 1974 (38 USC 4212), and Section 503 of the

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Chapter 1: Getting started

Installation and registration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Adobe Help Center . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Using Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Tips and training . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

What’s new . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Chapter 2: Tutorials

Tutorials . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Chapter 3: Work area

Work area basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Palettes, tools, and menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Files and templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Viewing artwork . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Rulers, grids, and guides . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Customizing the work area . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Setting preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Recovery and undo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Chapter 4: Adobe Bridge

The basics of Bridge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Files and folders in Bridge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Bridge Center . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Running automated tasks with Bridge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Metadata in Bridge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Using Version Cue with Bridge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Chapter 5: Adobe Stock Photos

Adobe Stock Photos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Comp images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Buying stock photos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Stock Photos accounts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Chapter 6: Adobe Version Cue

Using Adobe Version Cue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Working with Version Cue projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Working with files in Version Cue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Disconnecting from projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .105

Deleting files, folders, and projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .106

Version Cue versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .110

Version Cue alternates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .115

Editing and synchronizing offline files . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119

iii

The Version Cue Administration utility . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122

Creating and editing projects in Version Cue Administration . . . . . . .127

Backing up and restoring from Version Cue Administration . . . . . . . .132

Working with users and privileges . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .134

Viewing logs, reports, and workspace information . . . . . . . . . . . . . . . . .138

Version Cue PDF reviews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .139

Chapter 7: Drawing

About drawing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .144

Drawing simple lines and shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .147

Drawing with the Pencil tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .151

Drawing with the Pen tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .153

Reshaping paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .157

Adding, deleting, and converting anchor points . . . . . . . . . . . . . . . . . . .160

Smoothing and simplifying paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .162

Erasing, splitting, and joining paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .164

Tracing artwork . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .165

Template layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .169

Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .170

Sets of symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .173

Drawing flares . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .179

Chapter 8: Color

About color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .181

Selecting colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .185

Using and creating swatches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .188

Managing swatches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .193

Adjusting colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .195

Chapter 9: Color management

Understanding color management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .198

Keeping colors consistent . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .200

Color-managing imported images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .204

Color-managing documents for online viewing . . . . . . . . . . . . . . . . . . . .206

Proofing colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .207

Color-managing documents when printing . . . . . . . . . . . . . . . . . . . . . . . .209

Working with color profiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .211

Color settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .215

Chapter 10: Painting

About painting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .221

Fills and strokes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .222

Live Paint groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .228

Brushes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .235

Creating and modifying brushes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .239

Transparency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .243

Blending modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .248

Gradients, meshes, and color blends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .251

Patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .255

Chapter 11: Arranging objects

Selecting objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .262

Moving objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .269

Aligning and distributing objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .272

Rotating objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .273

Reflecting objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .276

Using layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .278

Stacking objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .282

Grouping and expanding objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .284

Duplicating objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .285

Locking, hiding, and deleting objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .287

Chapter 12: Reshaping objects

Transforming objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .290

Scaling objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .293

Shearing objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .295

Distorting objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .297

Combining objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .300

Cutting, dividing, and trimming objects . . . . . . . . . . . . . . . . . . . . . . . . . . .306

Clipping masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .309

Blending objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .311

Reshaping objects with effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .314

Creating 3D objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .316

Chapter 13: Importing, exporting, and saving

Importing files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .325

Bitmap images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .328

Adobe PDF files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .330

EPS and DCS files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .331

Importing artwork from Photoshop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .333

Saving artwork . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .334

Exporting artwork . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .340

Creating Adobe PDF files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .346

Adobe PDF options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .350

File information and metadata . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .357

Chapter 14: Type

Updating legacy text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .360

Creating type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .361

Importing and exporting text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .364

Area type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .365

Type on a path . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .370

Editing text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .373

Language . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .377

Letterforms as graphic objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .378

Selecting type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .380

Formatting characters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .381

Fonts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .382

Line and character spacing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .385

Underline, strikethrough, caps, superscripts, and subscripts . . . . . . . .388

Special characters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .389

Scaling and rotating type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .394

Formatting paragraphs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .395

Hyphenation and line breaks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .398

Tabs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .400

Character and paragraph styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .404

Formatting Asian characters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .406

Mojikumi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .411

Kinsoku . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .413

Burasagari, leading, and kurikaeshi moji shori . . . . . . . . . . . . . . . . . . . . .414

Creating composite fonts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .416

Chapter 15: Creating special effects

Appearance attributes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .419

Copying appearance attributes between objects . . . . . . . . . . . . . . . . . .421

Working with effects and filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .423

Summary of effects and filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .426

Drop shadows, glows, and feathering . . . . . . . . . . . . . . . . . . . . . . . . . . . . .434

Making objects look hand-sketched . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .436

Changing vector graphics to bitmap images . . . . . . . . . . . . . . . . . . . . . . .437

Creating mosaics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .438

Graphic styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .438

Chapter 16: Web graphics

Best practices for creating web graphics . . . . . . . . . . . . . . . . . . . . . . . . . . .442

Slices and image maps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .443

SVG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .447

Creating animations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .450

Optimizing and saving web graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .452

Web graphics formats and options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .456

Output settings for web graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .464

Chapter 17: Printing

Basic printing tasks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .468

Printing color separations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .469

Setting up pages for printing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .472

Cropping artwork for printing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .475

Printer’s marks and bleed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .476

PostScript printing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .477

Printing with color management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .480

Printing gradients, meshes, and color blends . . . . . . . . . . . . . . . . . . . . . .481

Printing and saving transparent artwork . . . . . . . . . . . . . . . . . . . . . . . . . . .484

Overprinting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .490

Trapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .492

Print presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .496

Chapter 18: Automating tasks

Actions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .498

Scripts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .504

Data-driven graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .505

Chapter 19: Graphs

Creating graphs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .510

Formatting graphs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .515

Adding pictures and symbols to graphs . . . . . . . . . . . . . . . . . . . . . . . . . . .520

Chapter 20: Keyboard shortcuts

Customizing keyboard shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .525

Default keyboard shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .526

Index

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .540

vii

Chapter 1: Getting started

Installation and registration

To install

Close any Adobe® applications that are open.

Insert the product CD into your computer’s CD drive.

Double-click the CD icon, and then follow the on-screen instructions.

After the installation, you may be prompted to activate your copy of the product. (See “To activate” on page 1.)

For more detailed instructions about installing the product, see the How To Install file on the product CD. For instructions about uninstalling the product, see the How To Uninstall file on the product CD.

To activate

Activation is a simple, anonymous process you must complete within 30 days of installing the product. Activation allows you to continue using the product, and it helps prevent casual copying of the product onto more computers than the license agreement allows. To learn more about activation, visit the Adobe website at www.adobe.com/activation/main.html

Start the product to access the Activation dialog box. (If you’ve just installed Adobe Creative Suite or Adobe

Photoshop®, the Activation dialog box appears automatically.)

Follow the on-screen instructions.

Important:

If you intend to install the product on a different computer, you must first transfer the activation to that computer. To transfer an activation, choose Help > Transfer Activation.

For more detailed instructions about activating the product and transferring an activation, see the How To Install file on the product CD.

To register

Register your Adobe product to receive complimentary support on installation and product defects and notifications about product updates. Registering your product also gives you access to the wealth of tips, tricks, and tutorials in

Adobe Studio® and access to Adobe Studio Exchange, an online community where users download and share thousands of free actions, plug-ins, and other content for use with Adobe products. Adobe Studio is available in

English, French, German, and Japanese. Find it from the home page of the Adobe website.

❖

Do one of the following:

•

Install and activate the software to access the Registration dialog box, and then follow the on-screen instructions.

An active Internet connection is required.

•

ADOBE ILLUSTRATOR CS2

User Guide

See also

“Adobe Studio” on page 7

“Extras” on page 9

Adobe Help Center

About Adobe Help Center

Adobe Help Center is a free, downloadable application that includes three primary features.

Product Help

Provides Help topics for Adobe Photoshop Elements and Adobe CS2 products installed on your system. (If none of these products are installed, Help topics for them aren’t available.) Help topics are updated period ically and can be downloaded through Adobe Help Center preferences.

Expert Support

Provides information about Adobe Expert Support plans and lets you store details about plans you’ve purchased. If you have an active support plan, you can also use the Expert Support section to submit web cases—questions sent to Adobe support professionals over the web. To access links in the Expert Support section, you must have an active Internet connection.

More Resources

Provides easy access to the extensive resources on Adobe.com, including support pages, user forums, tips and tutorials, and training. You can also use this area to store contact information for friends, colleagues, or support professionals, or even websites you turn to for inspiration or troubleshooting information.

Product Help, Expert Support, and More Resources in Adobe Help Center

See also

“Using Help” on page 3

“To search Help topics” on page 5

“To navigate Help” on page 4

To check for updates

Adobe periodically provides updates to software and to topics in Adobe Help Center. You can easily obtain these updates through Adobe Help Center. An active Internet connection is required.

Click the Preferences button .

In the Preferences dialog box, click Check For Updates. If updates are available, follow the on-screen directions to download and save them.

ADOBE ILLUSTRATOR CS2

User Guide

To set Adobe Help Center preferences

Click the Preferences button . Set any of the following options:

Region

Specifies your geographical location. Changing this option may affect which services are available to you.

Language

Specifies the language in which Expert Support content is displayed.

Display Renewal Reminders For Expert Support Contracts

Displays reminder screens when your Expert Support plan has almost expired. Deselect this option if you’d like to turn off these reminders.

Enable Auto Login For Web Case Submission

Allows you to submit support questions over the web. This option is available only if you have an active Expert Support plan.

User Interface Language

Specifies the language in which Adobe Help Center interface text is displayed.

Check For Updates

Searches for new updates to software and Help topics as they become available from Adobe.

Network Administrators

Displays options for network administration.

Click OK.

To display More Resources

The More Resources section in Adobe Help Center provides easy access to some of the content and services available from the Adobe website, including support, training, and tutorials.

❖

To display this section, click More Resources.

To add contact information in More Resources

Click More Resources, and then click Personal Contacts.

Do any of the following:

•

To add a contact, click New, type the contact information you want to save, and click OK.

•

To edit a contact, click a contact in the list, click Edit, make changes to the information, and click OK.

•

To delete a contact, click a contact in the list, and then click Delete. To confirm the deletion, click Yes when prompted, or click No to cancel.

Using Help

The complete documentation for using your Adobe product is available in Help, a browser-based system you can access through Adobe Help Center. Help topics are updated periodically, so you can always be sure to have the most recent information available. For more information, see “To check for updates” on page 2.

Important:

Adobe Help systems include all of the information in the printed user guides, plus additional information not included in print. The Resources and Extras CD included with the software also includes a PDF version of the complete Help content, optimized for printing.

ADOBE ILLUSTRATOR CS2

User Guide

A B C D E

Product Help section of Adobe Help Center

Returns you to Help home page

Adds bookmark for current topic

Prints contents of right pane

Opens Preferences dialog box

Opens About Adobe Help Center window

See also

“To navigate Help” on page 4

“To search Help topics” on page 5

To navigate Help

❖

Do any of the following:

•

To view Help for a product, choose the product name from the Help For menu. (To view only topics that apply across all Creative Suite products, choose Adobe Creative Suite.)

•

To expand or collapse a section, click the blue triangle to the left of the section name.

•

To display a topic , click its title.

See also

“To use bookmarks” on page 6

ADOBE ILLUSTRATOR CS2

User Guide

To search Help topics

Search using words or phrases to quickly find topics. You can search Help for one product or for all Adobe products you’ve installed. If you find a topic that you may want to view again, bookmark it for quick retrieval.

In Adobe Help Center, click Product Help.

Type one or more words in the Search box. To search across Help for all Adobe products you have installed, click the black triangle to the left of the Search box and choose Search All Help.

Search Help for one product or for all products you’ve installed

Click Search. Topics matching the search words appear in the navigation pane.

To view a topic, click its title.

To return to the navigation pane, do one of the following:

•

Click the Home button.

•

Click the Back button.

•

Click Next Topic or Previous Topic.

See also

“To print a topic from Help” on page 5

“To use bookmarks” on page 6

Search tips

Adobe Help search works by searching the entire Help text for topics that contain all of the words typed in the Search box. These tips can help you improve your search results in Help:

•

If you search using a phrase, such as “shape tool,” put quotation marks around the phrase. The search returns only those topics containing all words in the phrase.

•

Make sure that the search terms are spelled correctly.

•

If a search term doesn’t yield results, try using a synonym, such as “web” instead of “Internet.”

To print a topic from Help

Select the topic you want to print, and click the Print button.

Choose the printer you’d like to use, and then click Print.

ADOBE ILLUSTRATOR CS2

User Guide

To change the view

By default, Adobe Help Center opens in Full view. Full view gives you access to the Product Help, Expert Support, and More Resources sections. Switch to Compact view when you want to see only the selected Help topic and you want to keep the Help window on top of your product workspace.

❖

Click the view icon to switch between Full and Compact views.

To use bookmarks

You can bookmark especially helpful topics for easy access, just as you bookmark pages in a web browser, and reread them at another time.

Click the Bookmarks tab in the navigation pane to view the bookmarks.

Do any of the following in the Bookmarks pane:

•

To create a bookmark, select the topic you want to mark, and click the Bookmark button . When the Bookmark dialog box appears, type a new name in the text box if desired, and then click OK.

•

To delete a bookmark, select it and click the Delete button. Click Yes to confirm the deletion.

•

To rename a bookmark, select it and then click the Rename button . In the dialog box, type a new name for the bookmark and then click OK.

•

To move a bookmark, select it and then click the Move Up button or the Move Down button .

Tips and training

Learning resources

Adobe provides a wide range of resources to help you learn and use Adobe products.

•

“Tutorials in Help” on page 7: Short step-by-step lessons through Adobe Help Center.

•

“Total Training Video Workshop CD” on page 7: Professional training videos from experts.

•

“Adobe Studio” on page 7: Videos, tips and tricks, and other learning material on Adobe products.

•

Adobe Creative Suite Design Guide

(Adobe Creative Suite only): A full-color printed book about using Adobe

Creative Suite 2 as a complete design and publishing toolbox, including five guided projects on print, web, and mobile workflows.

•

“Technical information” on page 8: Reference material, scripting guides, and other in-depth information.

•

“Other resources” on page 8: Training, books, user forums, product certification, and more.

•

Support: Complimentary and paid technical support options from Adobe.

•

“Extras” on page 9: Downloadable content and software.

See also

“About Adobe Help Center” on page 2

ADOBE ILLUSTRATOR CS2

User Guide

Tutorials in Help

The Help system for each Adobe CS2 product includes several step-by-step tutorials on key features and concepts.

These tutorials are also available in the complete, printable, PDF version of the Help contents, included on the

Resources and Extras CD.

To use these tutorials with the product, select the tutorial you want from the Contents pane in Adobe Help Center, and click the View icon to switch to Compact view. Compact view keeps the Help window on top of the appli cation windows, regardless of what window or application is selected. Drag an edge or a corner of the Help window to resize it.

See also

“Adobe Studio” on page 7

“Total Training Video Workshop CD” on page 7

“Other resources” on page 8

Total Training Video Workshop CD

Presented by experts in their fields, Total Training videos provide overviews, demos of key new features, and many useful tips and techniques for beginning and advanced users. Look for accompanying step-by-step instructions to selected Total Training videos in monthly updates to Adobe Studio.

Short Total Training web videos on a variety of products and topics are also available in Adobe Studio, and complete

Total Training courseware can be purchased online from the Adobe Store.

See also

“Adobe Studio” on page 7

“Other resources” on page 8

Adobe Studio

Adobe Studio provides a huge wealth of tips and tricks, tutorials, and instructional content in video, Adobe PDF, and

HTML, authored by experts from Adobe and its publishing partners. You can search the entire collection or sort by product, topic, date, and type of content; new content is added monthly. Adobe Studio is available in English, French,

German, and Japanese. Find it from the home page of the Adobe website.

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User Guide

Tips and tutorials in Adobe Studio

See also

“Total Training Video Workshop CD” on page 7

“Other resources” on page 8

Technical information

The Technical information folder on the Resources and Extras CD included with your Adobe product includes several useful documents in PDF, fully searchable and optimized for printing. These documents provide conceptual and reference material on various in-depth topics, such as scripting, transparency, and high-end printing. For complete developer documentation and resources, visit the Developers area of the Adobe website at http://partners.adobe.com/public/developer/main.html

. For additional backgrounders and instructional content, visit Adobe Studio.

The Resources and Extras CD also includes the entire Help content optimized for printing. Note that the Help content includes everything in the printed Adobe user guides, plus much more.

See also

“Adobe Studio” on page 7

“Other resources” on page 8

Other resources

Additional sources of information and help are available for Adobe products.

•

Visit the Training area of the Adobe website for access to Adobe Press books; online, video, and instructor-led training resources; Adobe software certification programs; and more.

ADOBE ILLUSTRATOR CS2

User Guide

•

Visit the Adobe user forums, where users share tips, ask questions, and find out how others are getting the most out of their software. User forums are available in English, French, German, and Japanese on the main Support page of your local Adobe website.

•

Visit the Support area of the Adobe website for additional information about free and paid technical support options. Top issues are listed by product on the Adobe U.S. and Adobe Japan websites.

•

Visit the Developers area of the Adobe website to find information for software and plug-in developers, including

SDKs, scripting guides, and technical resources.

•

Click More Resources in Adobe Help Center to access many of the resources on the Adobe website and to create your own list of frequently visited user groups and websites and valuable contacts.

•

Look in Bridge Center for RSS feeds on the latest technical announcements, tutorials, and events. To access Bridge

Center, select it in the Favorites panel in Adobe Bridge. (Bridge Center is available with Adobe Creative Suite only.)

See also

“To display More Resources” on page 3

“Learning resources” on page 6

Extras

The Resources and Extras CD included with your CS2 product includes a Goodies folder that contains bonus content and files for use with your Adobe product. For more free content and add-ons, visit Adobe Studio Exchange, an online community where users download and share thousands of free actions, plug-ins, and other content for use with Adobe products. To visit Adobe Studio Exchange, go to Adobe Studio from the home page of the Adobe website.

In addition, your CS2 product includes Adobe Stock Photos, an integrated service available within Adobe Bridge that lets you search, view, try, and buy royalty-free stock photography from leading stock libraries. Because of the tight integration between Stock Photos and CS2 products, you can download images directly into your Adobe Illustrator®,

Adobe InDesign®, and Adobe GoLive® projects. From Photoshop, you can open any downloaded image.

See also

“Adobe Studio” on page 7

“About Adobe Stock Photos” on page 71

“About Adobe Bridge” on page 48

Other downloads

The Downloads area of the Adobe website includes free updates, tryouts, and other useful software. In addition, the

Plug-ins section of the Adobe Store provides access to thousands of plug-ins from third-party developers, helping you automate tasks, customize workflows, create specialized professional effects, and more.

See also

“About Adobe Stock Photos” on page 71

“Other resources” on page 8

ADOBE ILLUSTRATOR CS2

User Guide

What’s new

New features

Live Trace

Live Trace automatically turns placed images into beautifully detailed vector graphics that are easy to edit, resize, and manipulate without distortion. Live Trace reduces the amount of time it takes to recreate a scanned drawing on-screen from days to minutes or seconds, without loss of quality. You can interactively adjust the results of a Live Trace using a rich assortment of vectorization options, including preprocessing, tracing, and overlay options. (See “About tracing artwork” on page 165.)

Live Paint

Live Paint lets you paint vector graphics more intuitively by automatically detecting and correcting gaps that previously would have affected how fills and strokes were applied. Instead of having to plan every detail of an illustration in advance to ensure the right shading and colors, you can work more as you would coloring by hand on paper. (See “About Live Paint” on page 228.)

Enhanced support for spot colors in raster images and effects

Use spot colors in new ways:

•

Apply spot colors in raster-based effects, such as drop shadows, glows, feathers, and blurs.

•

Colorize an embedded grayscale image with one spot or process color, in either CMYK or RGB document color spaces. Color can be applied by dragging onto the image or just by clicking on the Swatches palette. (See “To colorize grayscale or 1-bit images” on page 196.)

•

Preserve spot-color rasters and spot-colorized grayscale images when saving to AI, EPS, or PDF files or when exporting to legacy EPS or legacy AI formats. These spot colors will print accurately from Adobe InDesign® CS2 or QuarkXPress 6 or later, and from Adobe Acrobat® 6.0 or 7.0 Professional.

Offset a stroke on its path

Control whether a stroke is centered on a path or positioned on the inside or the outside of the path. (See “To change the stroke’s color, width, and alignment” on page 224.)

Type enhancements

Apply underlining and strikethrough to text using the Character palette. (See “To underline or strike through text” on page 388.) Experience improved performance working with advanced typographical controls.

Workspace management

Customize your Illustrator workspace to suit your creative workflow:

•

Select commonly used options from the context-sensitive Control palette, which reduces the number of palettes you need to have open. In addition, the Control palette makes options more accessible and allows you to work with different features more quickly. (See “About the Control palette” on page 33.)

•

Arrange palettes and defaults to support a specific workflow or client project, and then save the setup as a named workspace that you can activate at any time or share with other people or computers. Workspaces help you control on-screen clutter and streamline the tools available to you for different tasks. (See “To save a custom workspace” on page 45.)

Expanded support for Wacom tablets

Take advantage of new Wacom tablet features, including pressure tip and eraser, tilt two side switches, barrel rotation, and large felt-marker-shaped nib. Illustrator® CS2 has built-in support for the new Wacom Intuos3 tablet.

Place Photoshop® layer comps

You can now control the visibility of layer comps in linked, embedded, and opened

Photoshop files as easily as you control the visibility of regular Photoshop layers. (See “Photoshop import options” on page 333.)

New SVG and SWF options

Save rich graphical content in SVG-Tiny format, which is optimized for mobile wireless devices. Then incorporate these graphics into your mobile design and development workflows. (See “SVG format options” on page 338.)

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User Guide

Export Adobe Illustrator artwork as SWF (Flash) files with more control over mapping layers to animation frames, maintaining the appearance of stylized text, and file compression. (See “Macromedia Flash export options” on page 342.)

New Adobe PDF options

Illustrator has long used Adobe PDF as its native file format, which makes it easy for clients and others to open and review your artwork files in Adobe Acrobat or the free Adobe Reader®. Now you can export

Illustrator artwork to multipage PDF files and take advantage of PDF/X standards. (See “About Adobe PDF” on page 346.)

Adobe Bridge

Organize and browse Illustrator and other creative assets using Adobe Bridge, an independent filemanagement system that you can launch from within Illustrator CS2. Through Adobe Bridge, you can automate workflows across Adobe Creative Suite 2 applications, apply consistent color settings across Adobe applications, and access version control features and online stock photo purchase services. A Start Page provides centralized control of settings, as well as ongoing access to tips and tutorials in Adobe Studio. (See “About Adobe Bridge” on page 48.)

Templates and other professionally designed content

Get a jump on the design process with new professionally designed templates and other easily accessible content. Click Browse Cool Extras on the Welcome Screen (choose

Help > Welcome Screen) to view templates and sample files in Adobe Bridge.

Chapter 2: Tutorials

Tutorials

Below you will find a list of tutorials that will help you get started using Illustrator quickly. Before going through the tutorials, it’s helpful to know how to create and save documents. (See “To create a new document” on page 34 and

“Saving and exporting artwork” on page 334.)

In addition to these tutorials, Adobe provides a variety of resources for learning Illustrator. (See “Learning resources” on page 6.)

For more advanced tutorials, go to Adobe Studio at http://studio.adobe.com

. (A one-time registration is required.)

See also

“Design a quick logo or web button” on page 12

“Discover the power of compound shapes” on page 15

“Paint illustrations with graphic styles” on page 19

“Create headline type with a twist” on page 22

“Play with hand-painted effects” on page 25

Design a quick logo or web button

Adobe Illustrator provides a variety of tools for creating basic geometric shapes, as well as hundreds of professionally designed symbols. Follow along and learn how to use shapes and symbols as building blocks for artwork.

1. Draw a shape.

Hold down the mouse on a shape tool in the toolbox, and select the shape tool you want to use. Then drag in the document window to draw the shape.

We selected the Ellipse tool and held down the Shift key while dragging to draw a circle. Holding down the Shift key tells Illustrator to

constrain proportions

. For example, you can use the Shift key with the Rectangle tool to draw a square.

ADOBE ILLUSTRATOR CS2

User Guide

2. Fill the shape with color.

Click the Fill box in the Control palette. (The Control palette is at the top of the work area, just beneath the menu bar. If you don’t see it, choose Window > Control Palette.) This tells Illustrator that you want to apply color inside the shape rather than to its

stroke

(or outline). Then click any swatch to fill the shape with color.

If you don’t like any of the default swatches, there are several other ways to select a color. Double-click the Fill box in the toolbox to select a color using the Color Picker, or choose Window > Color to select a color using the Color palette. Or choose Window > Swatch Libraries, and choose a swatch library from the submenu.

3. Change the shape’s stroke weight.

In the Control palette, type a different value in the Stroke Weight box, and press Enter or Return to apply the change.

We increased the stroke weight to 3 points. Although we decided to stick with a black stroke, you can change the stroke color by clicking the stroke box in the Control palette and selecting a different color.

4. Place a symbol instance.

If the Symbols palette isn’t showing, choose Window > Symbols. The Symbols palette displays a variety of default symbols; however, many additional symbols are available to you through

symbol libraries

. To open a symbol library, click the triangle icon at the top right corner of the Symbols palette, and choose an option from the Open Symbol

Library submenu.

Once you locate the symbol you want to use, drag it from the palette into the document window. The placed symbol is called a

symbol instance

. We used the Home symbol from the Web Icons symbol library.

ADOBE ILLUSTRATOR CS2

User Guide

5. Resize the symbol instance.

Depending on the size of the symbol instance, you may want to make it larger or smaller. First select the Selection tool in the toolbox and click the symbol instance. Then drag one of the corner handles on the symbol instance to enlarge or reduce it. As with drawing shapes, holding down the Shift key as you drag causes Illustrator to constrain the proportions of the symbol instance.

You can also use the Scale tool or the Transform palette to resize selected objects in the document window. (See

“Scaling objects” on page 293.)

6. Align the symbol instance and the shape.

Make sure the Selection tool is still active in the toolbox, and drag a marquee around both the shape and symbol instance. Then choose Window > Align to show the Align palette.

The Align palette contains buttons for aligning and distributing objects. First, we clicked the Horizontal Align

Center button. Then we clicked the Vertical Align Center button.

ADOBE ILLUSTRATOR CS2

User Guide

7. Experiment with design variations.

Now that you have a basic design, experiment with different variations. For example, if you want to apply a different fill and stroke to the symbol instance, select the instance in the document window and click the Break Link To

Symbol button in the Symbols palette. Once the link to the symbol is broken, the object is no longer a symbol, so you can apply different fills and strokes to it.

We went one step further by applying a variety of gradients to our design. First, we drew another circle, chose

Object > Arrange > Send To Back, and realigned all three objects using the Align palette. We filled the objects with a default gradient from the Swatches palette. Then, we selected just the outer circle and used the Gradient tool to reverse the direction of the gradient. (See “To apply a gradient in a different direction” on page 252.) Our final design will make a great web button, so we used the Save For Web command to save it in GIF format. (See “To optimize and save web graphics” on page 452.)

Discover the power of compound shapes

Using compound shapes is one of the easiest ways to create illustrations in Adobe Illustrator. You start by drawing basic shapes and then use the Pathfinder palette to combine them in different ways. In this tutorial, you’ll learn how to add and subtract shapes, as well as how to use the Layers palette.

ADOBE ILLUSTRATOR CS2

User Guide

1. Draw a series of overlapping ellipses.

First, click the Default Fill And Stroke button in the toolbox. This sets the fill to white and the stroke to black. Then select the Ellipse tool, and drag to draw a series of overlapping ellipses.

To move an ellipse, select it with the Selection tool and drag it to a different location. When you’re satisfied with the placement of all the shapes, drag around all the ellipses to select them.

2. Add the ellipses together.

If the Pathfinder palette isn’t showing, choose Window > Pathfinder. Then click the Add To Shape Area button in the

Pathfinder palette.

You just created a compound shape (a shape that consists of two or more objects). You can verify this by looking in the Layers palette. If the Layers palette isn’t showing, choose Window > Layers. Then click the triangle to the left of

Layer 1 to see the listing for the compound shape.

3. Subtract a rectangle.

Select the Rectangle tool and draw a rectangle that overlaps the bottom of the compound shape. When you’re finished drawing, use the Selection tool to select all the shapes. Then click the Subtract From Shape Area button in the Pathfinder palette.

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It may be difficult to tell what changed while all the shapes are selected, so click anywhere on the artboard to deselect them. Now you can see that the rectangle has been subtracted from the ellipses. If you look in the Layers palette, you’ll see that Illustrator created a new compound shape containing the rectangle and the first compound shape.

4. Rename the compound shape in the Layers palette.

Double-click the words “Compound Shape” in the Layers palette. Enter a more meaningful name for the shape, and click OK. We named our shape “Cloud.”

The Layers palette is very useful for keeping track of the objects in a document. In addition, you can use it to select objects by clicking in the selection column between the circle and the scroll bar. (See “About the Layers palette” on page 278.)

5. Draw three nested circles.

You’ll use the circles to create a sun, so draw them in proportion to the cloud. Start by selecting the Ellipse tool, and

Shift+dragging to draw the outer circle. Then position the pointer over the center of the circle, and Shift+Alt+drag

(Windows) or Shift+Option+drag (Mac OS) to draw the middle circle. (Holding down the Alt or Option key lets you draw the circle from the center outward.) Repeat again to draw the inner circle.

We named the circles “Outer Circle,” “Middle Circle,” and “Inner Circle” in the Layers palette.

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6. Create the sun’s rays.

Select the outer circle and choose Effect > Distort & Transform > Zig Zag. Select Preview, and adjust the values for

Size and Ridges Per Segment. When you’re satisfied with the results, click OK.

7. Make the sun a compound shape.

Select the outer circle, then hold down Shift and select the middle circle. (Holding down Shift lets you select multiple objects.) Click the Subtract From Shape Area button in the Pathfinder palette to combine the two shapes. Hold down

Shift, select the inner circle, and click the Add To Shape Area button in the Pathfinder palette.

We named the compound shape “Sun” in the Layers palette.

8. Move the sun behind the cloud.

Select the sun, and choose Object > Arrange > Send Backward. Then use the Selection tool to drag the sun behind the cloud.

Notice how the sun is now listed below the cloud in the Layers palette. This is because the Layers palette reflects the stacking order of your artwork. You can change the stacking order by dragging objects up or down in the Layers palette. (See “About the stacking order” on page 282.)

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Paint illustrations with graphic styles

In the previous tutorial, you learned how to create the outlines, or

paths

, of an illustration. Now you’ll use graphic styles to paint your illustration with colors and effects. Adobe Illustrator comes with hundreds of professionally designed graphic styles that let you change the appearance of artwork with a single click. And graphic styles are fully reversible, so you can always go back to your original illustration if you don’t like the results.

1. Target the cloud in the Layers palette.

In the Layers palette, click the circle (called the

target icon

) at the right edge of the cloud’s listing. When the target icon displays a double ring, the item is

targeted

Targeting may seem simple, but it’s a commonly forgotten step when applying graphic styles and effects. Targeting is especially important when you want to apply a style or effect to everything in a layer. (See “About targeting” on page 420.)

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2. Apply a graphic style to the cloud.

If the Graphic Styles palette isn’t showing, choose Window > Graphic Styles. The Graphic Styles palette displays a variety of default graphic styles; however, many additional graphic styles are available to you through

graphic style libraries

. To open a graphic style library, click the triangle icon at the top right corner of the Graphic Styles palette, and choose an option from the Open Graphic Style Library submenu.

Once you locate the graphic style you want to use, click it. We used the Raised Edges graphic style from the Image

Effects library.

3. View appearance attributes of the graphic style.

Choose Select > Deselect to deselect the clouds, and if the Appearance palette isn’t showing, choose Window >

Appearance. The Appearance palette lists

appearance attributes

—properties that affect the look of an object without altering its underlying structure. These include fills, strokes, transparency settings, and effects.

In our case, no artwork is targeted, so the top listing should read “No Selection:” followed by the name of the current graphic style. The specific appearance attributes depend on the graphic style you selected in step 2. Some attributes may have triangles to the left of them. This means that the attribute includes effects or transparency settings. You can expand or collapse the attribute by clicking the triangle. (See “Using the Appearance palette” on page 419.)

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4. Edit the graphic style.

Click each color swatch in the Appearance palette and choose different colors using the Swatches palette or Color palette. You probably want to choose colors in the yellow to red range because you’ll apply the new graphic style to the sun.

You can also use the Appearance palette to edit other aspects of a graphic style. For example, you can change the order in which Illustrator applies attributes by dragging any attribute to a different position in the palette. If the graphic style includes effects, double-click an effect name to change the effect’s settings.

5. Create a new style.

Click the New Graphic Style button in the Graphic Styles palette. The new style appears as the last item in the palette, so you may need to scroll down to see it. Double-click the style, enter a descriptive name, and click OK.

We named our new graphic style “Orange Raised Edge.”

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6. Apply the new graphic style to the sun.

Target the sun in the Layers palette, and click the graphic style you just created in the Graphic Styles palette.

7. Experiment with design variations.

Now that you know how to apply and edit graphic styles, experiment with design variations. Start by creating a duplicate of the sun and cloud by dragging Layer 1 in the Layers palette onto the Create New Layer button. Then click in the selection column for the copied layer, and press the arrow keys on your keyboard to reposition the duplicate sun and cloud. (Hold down the Shift key to move the selection in bigger increments.)

If you want to remove the existing graphic styles before applying new ones, click the Clear Appearance button in the

Appearance palette. This removes all appearance attributes (including the fill and stroke) so the sun and cloud won’t be visible in the document window until you target them and apply new graphic styles.

Create headline type with a twist

Adobe Illustrator provides powerful, flexible features for creating and modifying type. You can add type anywhere in your artwork—horizontally, vertically, along paths, inside shapes, around shapes, in rows and in columns. In this tutorial, you’ll learn how to create a headline that you can reuse for a variety of purposes.

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1. Draw a curved path.

Select the Pen tool, and position the pointer where you want to start your path. Click and drag in the direction you want the curve to go. Release the mouse button and move the pointer; then click and drag again in the direction you want the curve to go. You can repeat this as many times as you want. When you are finished drawing, Ctrl-click

(Windows) or Command-click (Mac OS) away from the line.

If this is your first time using the Pen tool, it may take some practice to get the hang of it; however, it will be time well spent. When you’re comfortable using the Pen tool, you can draw any line or shape with precision. (See “To draw curves with the Pen tool” on page 154.)

2. Add type along the path.

Select the Type On A Path tool. Click the path to set the insertion point, and type the desired text. Don’t worry about the position of the type on the path—you’ll learn how to adjust it later on.

3. Format the type.

Click the Selection tool to select the type, and choose a font family, font style, and font size in the Control palette.

You can also change the color of the type by selecting a Fill color in the Control palette.

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Illustrator comes with a variety of fonts that you can use in your artwork. To view a catalog of fonts, choose Help >

Welcome Screen and click Browse Cool Extras.

4. Reposition the type if necessary.

Position the Selection tool over the type’s start, center, or end bracket until a small icon appears next to the pointer.

(If the pointer doesn’t change, make sure the Selection tool is still selected.) Drag to the right or left to reposition the type on the path.

5. Apply a drop shadow to the type.

Choose Effect > Stylize > Drop Shadow. Select Preview, and adjust the drop shadow options. (We used the default values.) When you’re satisfied with the results, click OK.

You can still edit the type after applying an effect.

6. Place a symbol instance.

If the Symbols palette isn’t showing, choose Window > Symbols. The Symbols palette displays a variety of default symbols; however, many additional symbols are available to you through

symbol libraries

. To open a symbol library, click the triangle icon at the top right corner of the Symbols palette, and choose an option from the Open Symbol

Library submenu.

Once you locate the symbol you want to use, drag it from the palette into the document window. The placed symbol is called a

symbol instance

. We used the Bee symbol from the Nature symbol library. After placing the symbol, we rotated it and applied a drop shadow to match the text.

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7. Save the headline.

The format you save in depends on how you want to use the headline. We chose File > Save For Microsoft Office to save our headline for use in Microsoft Word. We also saved our headline as a web banner using the Save For Web dialog box. (See “To optimize and save web graphics” on page 452.)

Play with hand-painted effects

Illustrator includes many features for working with bitmap images. In this tutorial, you’ll learn how to import bitmap images into Illustrator and apply artistic effects.

1. Choose a bitmap image.

An image with high contrast works the best. If you don’t have a suitable image, a variety of stock photography is available on the Illustrator CD.

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2. Import the image into Illustrator.

Start by creating a new document in RGB color mode. (This is important because the Artistic filters don’t work on

CMYK images.) Then choose File > Place, and select the image file. Make sure the Link option is deselected, and click OK.

The Links palette shows all imported images. (See “To use the Links palette” on page 326.)

3. Apply the Poster Edges effect.

Target the image in the Layers palette, and choose Effect > Artistic > Poster Edges. Adjust the settings until you are satisfied with the preview, and then click OK.

The Poster Edges effect reduces the number of colors in an image according to the posterization option you set, and finds the edges of the image and draws black lines on them. Broader areas of the image have simple shading, while fine, dark detail is distributed throughout the image.

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4. Apply the Watercolor effect.

Choose Effect > Artistic > Watercolor. Adjust the settings until you are satisfied with the preview, and then click OK.

The Watercolor effect paints the image in a watercolor style, simplifying details in an image, using a medium brush loaded with water and color. Where significant tonal changes occur at edges, the filter saturates the color.

5. Choose a brush.

If the Brushes palette isn’t showing, choose Window > Brushes. The Brushes palette displays a variety of default brushes; however, many additional brushes are available to you through

brush libraries

. To open a brush library, click the triangle icon at the top right corner of the Brushes palette, and choose an option from the Open Brush Library submenu.

Once you locate the graphic style you want to use, click it. We selected the Fountain Pen brush from the Artistic_Ink library.

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6. Apply a brush stroke.

Select the Paintbrush tool, and select a color. We used the Eyedropper tool to sample a color in our artwork. Then drag to apply the stroke.

If you want more precision, use the Pen tool to draw a path, and then apply the brush to the path. (See “To apply brush strokes” on page 237.)

7. Experiment with different brushes.

We added some green splatters using the Ink Splatter brush and some yellow splatters using the Galaxy brush. Then we defined the edges of the paint cans using the Dry Ink brush.

Chapter 3: Work area

Work area basics

About the work area

By default, the Illustrator work area consists of an illustration window where you draw and lay out your artwork, a toolbox that holds tools for drawing and editing artwork, palettes to help you monitor and modify artwork, and menus that contain commands for performing tasks.

You can rearrange the work area to best suit your needs by moving, hiding, and showing palettes; zooming in or out of artwork; scrolling to a different area of the illustration window; and creating multiple windows and views. You can also change the visibility of the illustration window and menu bar using the Mode buttons at the bottom of the toolbox:

•

Standard Screen Mode displays artwork in a standard window, with a menu bar at the top and scroll bars on the sides.

•

Full Screen Mode with Menu Bar displays artwork in a full-screen window with a menu bar but with no title bar or scroll bars.

•

Full Screen Mode displays artwork in a full-screen window, with no title bar, menu bar, or scroll bars.

Using the status bar

The status bar (at the bottom left edge of the illustration window) displays the current zoom level and information about one of the following topics: the current tool in use, the date and time, the number of undos and redos available, the document color profile, or the status of a managed file.

Click the status bar to do any of the following:

•

Change the type of information displayed in the status bar by selecting an option from the Show submenu.

•

Show the current file in Adobe Bridge by choosing Reveal In Bridge.

•

Access Version Cue® commands.

See also

“About Adobe Bridge” on page 48

“Getting the most out of Version Cue” on page 82

Palettes, tools, and menus

About the toolbox

The first time you start the application, the toolbox appears at the left side of the screen. You can move the toolbox by dragging its title bar. You can also show or hide the toolbox by choosing Window > Tools.

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Toolbox overview

Selection tools

Selection (V)

Direct Selection (A)

Group Selection

Magic Wand (Y)

Lasso (Q)

B Drawing tools

Pen (P)

Add Anchor Point

Delete Anchor

Point

Convert Anchor

Point

Line Segment (\)

Arc

Spiral

Rectangular Grid

Polar Grid

Rectangle (M)

Rounded Rectangle

Ellipse

Polygon

Star

Flare

Pencil (N)

Smooth

Erase

Type tools

Type (T)

Area Type

Type On a Path

Vertical Type

Vertical Area

Type

Vertical Type

On a Path

D Painting tools

Paintbrush (B)

Mesh (U)

Gradient (G)

Eyedropper (I)

Measure

Live Paint Bucket (K)

Live Paint Select

(Shift+L)

Reshaping tools

Rotate (R)

Reﬂect (O)

Scale (S)

Shear

Reshape

Warp (Shift-R)

Twirl

Pucker

Bloat

Scallop

Crystallize

Wrinkle

Free Transform (E)

Blend (W)

Indicates default tool * Keyboard shortcuts appear in parenthesis

Symbol tools

Symbol Sprayer

(Shift +S)

Symbol Shifter

Symbol Scruncher

Symbol Sizer

Symbol Spinner

Symbol Stainer

Symbol Screener

Symbol Styler

G Graph tools

Column Graph (J)

Stacked Column

Graph

Bar Graph

Stacked Bar

Graph

Line Graph

Area Graph

Scatter Graph

Pie Graph

Radar Graph

Slicing and cutting tools

Slice (Shift+K)

Slice Select

Scissors (C)

Knife

Moving and zooming tools

Hand (H)

Page

Zoom (Z)

See also

“Selection tool gallery” on page 262

“Drawing tool gallery” on page 145

“Type tool gallery” on page 361

“Painting tool gallery” on page 222

“Reshaping tool gallery” on page 290

“Symbolism tool gallery” on page 174

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“Graph tool gallery” on page 510

“Slicing and cutting tool gallery” on page 444

“Moving and zooming tool gallery” on page 37

Using tools

You use tools in the toolbox to create, select, and manipulate objects in Illustrator. You can select a tool by clicking it or pressing the tool’s keyboard shortcut. The name of the tool and its keyboard shortcut appear when you hold the pointer over the tool—this text is called the

tool tip

To hide tool tips, choose Edit > Preferences > General (Windows) or Illustrator > Preferences > General (Mac OS), and deselect Show Tool Tips.

Some tools have additional tools beneath them—these are called

hidden tools

. A small triangle at the lower right corner of the tool icon indicates that there are hidden tools. To view hidden tools, hold down the mouse button on the visible tool. To select a hidden tool, continue to hold down the mouse button, drag the pointer over the tool you want to select, and then release the mouse button. To tear off hidden tools into a separate palette, drag the pointer over the arrow at the end of the toolbox and release the mouse button. Click the close box on the palette’s title bar to return the tools to the toolbox.

A B

Selecting a hidden tool

Toolbox

Active tool

Tear off palette with hidden tools

Hidden tool triangle

Tool name and shortcut

You can move the toolbox around the work area by dragging its title bar. You can also hide the toolbox by choosing

Window > Tools.

The mouse pointer for most tools matches that tool’s icon. If you prefer, you can use a precision pointer for greater accuracy when working with detailed artwork. Choose Edit > Preferences > General (Windows) or Illustrator >

Preferences > General (Mac OS), and select Use Precise Cursors. Alternatively, press Caps Lock on the keyboard.

To work with palettes

Palettes help you monitor and modify your work. You can customize the default palette arrangement in the following ways:

•

To show or hide a palette, select the palette name from the Window menu. A check mark next to the palette name indicates that the palette is currently open.

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•

To hide or show all palettes including the toolbox and Control palette, press Tab. To hide or show all palettes except for the toolbox and Control palette, press Shift+Tab.

•

To display a palette menu, position the pointer on the triangle in the upper right corner of the palette, and press the mouse button.

•

To change the size of a palette, drag any corner of the palette (Windows) or drag the size box at its lower right corner (Mac OS). Some palettes, such as the Color palette, cannot be resized by dragging.

•

To collapse a group of palettes to their titles only, click the minimize/maximize box (Windows) or the zoom box

(Mac OS). You can still open the palette menu when the palette is collapsed.

•

To cycle through the available views of a palette—default, hidden options visible, and palette titles only—double click the palette’s tab. In some palettes, you can click the double triangle at the upper left of the palette tab to cycle through the palette views, or select Show Options or Hide Options from the palette menu.

•

To make a palette appear at the front of its group, click the palette’s tab.

•

To move an entire palette group, drag its title bar.

•

To rearrange or separate a palette group, drag a palette’s tab. Dragging a palette outside an existing group creates a new palette window.

•

To move a palette to another group, drag the palette’s tab to that group.

•

To dock palettes so that they move together, drag a palette’s tab to the bottom of another palette.

•

To move an entire docked palette group, drag its title bar.

•

To return palettes to their default sizes and positions, choose Window > Workspace > [Default].

To enter values in palettes and dialog boxes

Do any of the following:

•

Type a value in the box, and press Enter or Return.

•

Drag the slider.

•

Drag the dial.

•

Click the arrow buttons in the palette 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.

•

Select a value from the menu associated with the box.

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A B C

Ways to enter values

Arrow buttons

Text box

Menu arrow

Slider

Dial

To calculate values in palettes and dialog boxes

You can perform simple math in any box that accepts numeric values. For example, if you want to move a selected object 3 units to the right using the current measurement units, you don’t have to work out the new horizontal position—simply type

after the current value in the Transform palette.

In a text box that accepts numerical values, do one of the following:

•

To replace the entire current value with a mathematical expression, select the entire current value.

•

To use the current value as part of a mathematical expression, click before or after the current value.

Type a simple mathematical expression using a single mathematical operator, such as

(plus),

(minus),

(multi plication),

(division), or

(percent).

For example,

0p0 + 3

5mm + 4

. Similarly,

3cm * 50%

equals 3 centimeters multiplied by 50%, or 1.50 cm, and

50pt + 25%

equals 50 points plus 25% of 50 points, or 62.5 points.

Press Enter or Return to apply the calculation.

About the Control palette

The Control palette offers quick access to options related to the objects you select. By default, the Control palette is docked to the top of the work area.

Options displayed in the Control palette vary depending on the type of object you select. For example, when you select a text object, the Control palette displays text-formatting options in addition to options for changing the color, placement, and dimensions of the object.

A B C

Control palette

Hidden options

Link to another palette

Palette menu

When text in the Control palette is blue and underlined, you can click the text to display a related palette. For example, click the word

Stroke

to display the Stroke palette.

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To customize the Control palette

•

To change the kinds of options that appear in the Control palette, select or deselect options in the Control palette menu.

•

To dock the palette at the bottom of the work area, choose Dock To Bottom from the Control palette menu.

•

To convert the Control palette to a floating palette, drag the gripper bar away from its current position. To redock the Control palette, drag the gripper bar to the top or bottom of the application window (Windows) or screen

(Mac OS).

Files and templates

About documents

document

is the space in which you create artwork. You can create new Illustrator documents from scratch or based on a template.

Creating a document from scratch gives you a blank document with the default fill and stroke colors, graphic styles, brushes, symbols, actions, viewing preferences, and other settings. You can customize the document defaults using a startup file.

Creating a document from a template gives you a document with preset design elements and settings.

See also

“About startup files” on page 46

To create a new document

•

To create a new document from scratch, choose File > New. Set document options, and click OK.

•

To create a new document from a template, choose File > New From Template. Select a template, and click New.

See also

“About the artboard” on page 36

“About colors in digital graphics” on page 181

About templates

Templates

let you create new documents that share common settings and design elements. For example, if you need to design a series of business cards with a similar look and feel, you can create a template with the desired artboard size, view settings (such as guides), and print options. The template can also contain symbols for common design elements (such as logos) and specific sets of color swatches, brushes, and graphic styles.

Illustrator comes with a variety of templates, including templates for letterhead, business cards, envelopes, brochures, labels, certificates, postcards, greeting cards, and websites.

When a template is selected via the New From Template command, Illustrator creates a new document with identical content to the template, but leaves the original template file untouched.

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To create a new template

Open a new or existing document.

Customize the document in any of the following ways:

•

Set up the document window as you want it to appear in new documents you create from the template. This includes the magnification level, scroll position, ruler origin, and options in the View menu.

•

Draw or import any artwork you want to appear in new documents you create from the template.

•

Delete any existing swatches, styles, brushes, symbols, or actions you don’t want to retain.

•

Create any new swatches, styles, brushes, symbols, and actions you want in the corresponding palettes. You can also import preset swatches, styles, brushes, symbols, and actions from a variety of libraries that come with

Illustrator.

•

Create any graph designs you want and add them to the Graph Design dialog box. You can also import preset graph designs.

•

Set the desired options in the Document Setup dialog box and Print Options dialog box.

Choose File > Save As Template.

In the Save As dialog box, select a location for the file, enter a file name, and click Save.

Illustrator saves the file in AIT (Adobe Illustrator Template) format.

To open a file

You can open files that were created in Illustrator as well as files that were created in other applications.

•

To open an existing file, choose File > Open. Locate the file, and click Open. If you don’t see the name of the file you want, make sure all formats are showing. If you still don’t see the file, it is stored in a format that Illustrator can’t read.

•

To open a file that has recently been used, choose File > Open Recent Files, and choose the file name from the list.

You can also use Adobe Bridge to open files.

See also

“To browse for files using Adobe Bridge” on page 35

“Importing Adobe PDF files” on page 330

“Importing EPS files” on page 331

“Importing artwork from Photoshop” on page 333

To browse for files using Adobe Bridge

Adobe Bridge lets you search for, preview, open, organize, process, rate, and share files. You can use it to create new folders and rename and delete files, as well as view and add file information. Adobe Bridge lets you unify common settings so that you can update all your Adobe CS2 applications at once.

In addition, you can use Bridge to access Adobe Version Cue, color management settings for Adobe Creative Suite, and stock photography.

❖

To open Adobe Bridge, choose File > Browse or click the Bridge icon in the Control palette.

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See also

“About Adobe Bridge” on page 48

Viewing artwork

About the artboard

The artboard represents the entire region that can contain printable artwork. However, the artboard’s dimensions do not necessarily match the current page size. For example, your artboard may be 10 x 20 inches while your print settings specify 8-1/2 x 11 inch paper. You can view the page boundaries in relation to the artboard by showing page tiling (View > Show Page Tiling). When page tiling is on, the printable and nonprintable areas are represented by a series of solid and dotted lines between the outermost edge of the window and the printable area of the page.

Illustration window

Printable area

Nonprintable area

Edge of the page

Artboard

Scratch area

The printable area is bounded by the innermost dotted lines and represents the portion of the page on which the selected printer can print. Many printers cannot print to the edge of the paper.

The nonprintable area is between the two sets of dotted lines representing any nonprintable margin of the page.

The page edge is indicated by the outermost set of dotted lines.

The artboard is bounded by solid lines and represents the maximum printable area. To hide the artboard boundaries, choose View > Hide Artboard.

The scratch area is the area outside the artboard that extends to the edge of the 227-inch square window. The scratch area represents a space on which you can create, edit, and store elements of artwork before moving them onto the artboard. Objects placed onto the scratch area are visible on-screen, but they do not print.

See also

“About page size and orientation” on page 474

“To reposition artwork on the page” on page 472

“To print artwork on multiple pages” on page 473

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About page tiling

By default, Illustrator prints your artwork on a single sheet of paper. However, if the artwork is larger than the page sizes available on your printer, you can print onto multiple sheets of paper.

Dividing the artboard to fit a printer’s available page sizes is called

tiling

. You can choose a tiling option in the Setup section of the Print dialog box. To view the page tiling boundaries on the artboard, choose View > Show Page Tiling.

Artboard divided into multiple page tiles

When you divide the artboard into multiple page 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.

See also

“About page size and orientation” on page 474

“To print artwork on multiple pages” on page 473

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 The Page tool adjusts the

Illustrator artboard within page grid to control where the illustration window. artwork appears on the printed page.

The Zoom tool (Z) increases and decreases the view magnification in the illus tration window.

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See also

“About the toolbox” on page 29

To change the size and color of the artboard

Choose File > Document Setup.

From the menu at the top left of the Document Setup window, do either of the following:

•

To change the size of the artboard, choose Artboard, and then set the size and orientation for the artboard.

•

To change the color of the artboard, choose Transparency. Select Simulate Colored Paper, click the top color swatch, and select a new color using the Color dialog box.

Changing the color of the artboard lets you view your document as it might appear when printed on colored paper.

For example, if you draw a blue object on a yellow background, the object appears green. The simulation is only performed when the transparency grid is not shown.

See also

“About page size and orientation” on page 474

“To reposition artwork on the page” on page 472

“To print artwork on multiple pages” on page 473

To zoom in or out

There are several ways to zoom in or out of artwork.

•

Select the Zoom tool . The pointer becomes a magnifying glass with a plus sign in its center. Click in the center of the area that you want to magnify, or hold down Alt (Windows) or Option (Mac OS) and click in the center of the area that you want to reduce. Each click magnifies or reduces the view to the previous preset percentage.

•

Select the Zoom tool and drag a dotted rectangle, called a

marquee

, around the area you want to magnify. To move the marquee around the artwork, hold down the spacebar, and continue dragging to move the marquee to a new location.

•

Choose View > Zoom In or View > Zoom Out. Each click magnifies or reduces the view to the next preset percentage.

•

Set the zoom level at the lower left corner of the main window or in the Navigator palette.

•

To display a file at 100%, choose View > Actual Size.

•

To change the view to fit the document window, choose View > Fit In Window.

See also

“Moving and zooming tool gallery” on page 37

“Keys for viewing artwork” on page 527

To move the view area

You can bring a different area of the artboard into view by doing either of the following:

•

Select the Hand tool , and drag in the direction you want the artwork to move.

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User Guide

•

In the Navigator palette, click the area of the thumbnail display that you want to view in the illustration window.

Alternatively, drag the proxy view area (the colored box) to a different area of the thumbnail display.

To specify the quality of the display when using the Hand tool, choose Edit > Preferences > Units & Display Perfor mance (Windows) or Illustrator > Preferences > Units & Display Performance (Mac OS). Drag the Hand Tool slider left to improve the quality of the view when you move it with the Hand tool, or right to improve the speed at which you can move the view with the Hand tool.

See also

“Moving and zooming tool gallery” on page 37

“Keys for viewing artwork” on page 527

To work with the Navigator palette

You use the Navigator palette 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.

To display the Navigator palette, choose Window > Navigator.

A B

C D E F G

Navigator palette

Thumbnail display of artwork

Palette menu button

Zoom box

Zoom Out button

Proxy preview area

Zoom slider

Zoom

In button

You can customize the Navigator palette in the following ways:

•

To display only artwork inside the boundaries of the artboard in the Navigator palette, select View Artboard Only from the palette menu. Any objects outside the border of the artboard are removed from the thumbnail display.

•

To change the color of the proxy view area, select Palette Options from the palette menu. Select a preset color from the Color pop-up menu, or double-click the color box to choose a custom color.

•

To display dashed lines in the document as solid lines in the Navigator palette, select Palette Options from the palette menu and select Draw Dashed Lines As Solid Lines.

•

To specify the size at which text is replaced by a gray bar in the Navigator palette, select Palette Options from the palette menu and enter a font size in the Greeking box.

See also

“To work with palettes” on page 31

About viewing artwork as outlines

By default, Adobe Illustrator sets the view so that all artwork is previewed in color. However, you can choose to display artwork so that only its outlines (or

paths

) are visible. Viewing artwork without paint attributes speeds up the time it takes to redraw the screen when working with complex artwork.

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User Guide

In Outline mode, linked files are displayed by default as outlined boxes with an X inside. To view the contents of linked files, choose File > Document Setup, choose Artboard at the top of the dialog box, and select Show Images In

Outline.

To view artwork as outlines

By default, Illustrator previews all artwork in color. However, you can speed redraw and performance by viewing artwork as outlines (or

paths

•

To view all artwork as outlines, choose View > Outline. Choose View > Preview to return to previewing artwork in color.

•

To view all artwork in a layer as outlines, Ctrl-click (Windows) or Command-click (Mac OS) the eye icon for the layer in the Layers palette. Ctrl-click (Windows) or Command-click (Mac OS) again to return to previewing artwork in color. The eye icon has a hollow center when Outline view is enabled and a filled center when

Preview view is enabled.

•

To view all unselected items in the Layers palette as outlines, Alt+Ctrl-click (Windows) or Option+Command click (Mac OS) the eye icon for the selected item. Alternatively, select Outline Others from the Layers palette menu.

You can return all items in the Layers palette to Preview mode by choosing Preview All Layers from the Layers palette menu.

See also

“About the Layers palette” on page 278

To use multiple windows and views

You can open multiple windows to display an illustration multiple times in the work area. Each window can have different view settings. For example, you can set one window highly magnified for doing close-up work on some objects and create another window less magnified for laying out those objects on the page.

(Windows) You can arrange multiple open windows to suit your needs, using options from the Window menu.

Cascade displays windows stacked and descending from the top left to the bottom right of the screen; Tile displays windows edge to edge; Arrange Icons organizes minimized windows within the program window.

An alternative to creating multiple windows is creating multiple views. You can create and store up to 25 views for each document. To switch between views, select a view name from the bottom of the View menu.

•

To create a new window, choose Window > New.

•

To create a new view, set up the view as you wish. Then choose View > New View, enter a name for the new view, and click OK.

•

To rename or delete a view, choose View > Edit Views.

See also

“About the work area” on page 29

“To save a custom workspace” on page 45

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User Guide

Previewing artwork in its final output medium

Illustrator provides several ways to preview how aspects of artwork will look when printed or viewed on the web:

Overprint Preview mode (View > Overprint > Preview)

Provides an “ink preview” that approximates how blending, transparency, and overprinting will appear in color-separated output. (See “About overprinting” on page 490.)

Pixel Preview mode (View > Pixel Preview)

Approximates how your artwork will appear when it is rasterized and viewed in a web browser. (See “About pixel preview mode” on page 442.)

Flattener Preview palette (Window > Flattener Preview)

The Flattener Preview palette (Window > Flattener

Preview) highlights areas of the artwork that meet certain criteria for

flattening

when saved or printed. (See “To preview which areas of artwork will be flattened” on page 487.)

Soft-proofs

Approximate how your document’s colors will appear on a particular type of monitor or output device.

Anti-aliasing

Gives vector objects a smoother on-screen appearance and gives you a better idea of how vector artwork will look when printed on a PostScript® printer. This is because screen resolution is relatively limited, but vector artwork is often printed at a high resolution. To turn on anti-aliasing, choose Edit > Preferences > General

(Windows) or Illustrator > Preferences > General (Mac OS), select Anti-aliased Artwork, and click OK.

See also

“Soft-proofing colors” on page 207

Rulers, grids, and guides

To work with rulers

Rulers help you accurately place and measure objects in the illustration window. Rulers appear at the top and left sides of the illustration window. The point where 0 appears on each ruler is called the

ruler origin

. The default ruler origin is located at the upper left corner of the artboard.

•

To change the ruler origin, move the pointer to the upper left corner of the illustration window where the rulers intersect, and drag the pointer to where you want the new ruler origin.

As you drag, a cross hair in the window and in the rulers indicates the changing ruler origin.

Note:

Changing the ruler origin affects the tiling of patterns and the display of artwork in the Print dialog box.

•

To restore the default ruler origin, double-click the upper left corner of the illustration window where the rulers intersect.

•

To show rulers, choose View > Show Rulers.

•

To hide rulers, choose View > Hide Rulers.

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User Guide

To 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.

•

To change the default unit of measurement, choose Edit > Preferences > Units & Display Performance (Windows) or Illustrator > Preferences > Units & Display Performance (Mac OS), and then select units for the General,

Stroke, and Type options. If Show Asian Options is selected in the Type preferences, you can also select a unit specifically for Asian type.

Note:

The “General” measurement option affects rulers, measuring the distance between points, moving and trans forming objects, setting grid and guides spacing, and creating shapes.

•

To set the general unit of measurement for the current document only, choose File > Document Setup, select

Artboard from the menu at the top left of the Document Setup dialog box, set the unit of measure you want to use, and click OK.

•

To change the unit of measurement when entering a value in a box, follow the value by any of the following abbre viations: inch, inches, in, millimeters, millimetres, mm, Qs (one Q equals 0.25 millimeter), centimeters, centi metres, cm, points, p, pt, picas, pc, pixel, pixels, and px.

When mixing picas and points, you can enter values as XpY, where X and Y are the number of picas and points (for example, 12p6 for 12 picas, 6 points).

To work with the grid

The grid appears behind your artwork in the illustration window, and it does not print.

•

To use the grid, choose View > Show Grid.

•

To hide the grid, choose View > Hide Grid.

•

To snap objects to gridlines, choose View > Snap To Grid, select the object you want to move, and drag it to the desired location.

When the object’s boundaries come within 2 pixels of a gridline, it snaps to the point.

Note:

When the View > Pixel Preview option is selected, Snap To Grid changes to Snap To Pixel.

•

To change the spacing between gridlines, choose Edit > Preferences > Guides & Grid (Windows) or Illustrator >

Preferences > Guides & Grid (Mac OS).

You can also choose between two grid styles—dots and lines—and change the color of the grid.

To work with guides

Guides

help you align text and graphic objects. You can create

ruler guides

(straight vertical or horizontal lines) and

guide objects

(vector objects that you convert to guides). Like the grid, guides do not print.

You can choose between two guide styles—dots and lines—and you can change the color of guides by using either predefined grid colors or colors you select using a color picker. By default, guides are locked in place, but you can unlock them to move, modify, delete, or revert them.

•

To show or hide guides, choose View > Guides > Show Guides or View > Guides > Hide Guides.

•

To change guide settings, choose Edit > Preferences > Guides & Grid (Windows) or Illustrator > Preferences >

Guides & Grid (Mac OS).

•

To unlock guides, deselect View > Guides > Lock Guides.

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User Guide

To create guides

If the rulers aren’t showing, choose View > Show Rulers.

Position the pointer on the left ruler for a vertical guide or on the top ruler for a horizontal guide.

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.

To move, delete, or release guides

Deselect View > Guides > Lock Guides.

Do any of the following:

•

Move the guide by dragging or copying.

•

Delete the guide by pressing Backspace (Windows) or Delete (Mac OS), or by choosing Edit > Cut or Edit > Clear.

•

Delete all guides at once by choosing View > Guides > Clear Guides.

•

Release the guide, turning it back into a regular graphic object, by selecting the guide and choosing View >

Guides > Release Guides.

To snap objects to anchor points and guides

Choose View > Snap To Point.

Select the object you want to move, and position the pointer on the exact point you want to align with anchor points and guides.

Important:

When snapping to a point, the snapping alignment depends on the position of the pointer, not the edges of the dragged object.

Drag the object to the desired location.

When the pointer comes within 2 pixels of an anchor point or guide, it snaps to the point. The pointer changes from a filled arrowhead to a hollow arrowhead when a snap occurs.

About Smart Guides

Smart Guides are temporary snap-to guides that help you create, align, edit, and transform objects relative to other objects. To activate Smart Guides, choose View > Smart Guides.

You can use Smart Guides in the following ways:

•

When you create an object with the pen or shape tools, use the Smart Guides to position a new object's anchor points relative to an existing object.

•

When you move an object, use the Smart Guides to align your cursor to construction guides and existing paths.

The alignment is based on the position of the pointer, not the edges of the object, so be sure to click to the exact point you want to align to.

•

When you transform an object, Smart Guides automatically appear to assist the transformation.

You can change when and how Smart Guides appear by setting Smart Guide preferences. (See “Smart Guide prefer ences” on page 44.)

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User Guide

Note:

When Snap To Grid is turned on, you cannot use Smart Guides (even if the menu command is selected).

Smart Guide preferences

Choose Edit > Preferences > Smart Guides & Slices (Windows) or Illustrator > Preferences > Smart Guides & Slices

(Mac OS) to set the following preferences:

Text Label Hints

Displays information about the position the cursor is currently snapped to (such as

center

) as you manipulate the cursor.

Construction Guides

Displays guidelines in the file as you use Smart Guides.

Transform Tools

Displays information when you scale, rotate, and shear objects.

Object Highlighting

Highlights the object below the pointer as you drag around it.

Angles

Sets angles at which you want guidelines drawn from the anchor points of a nearby object. You can set up to six angles. Type an angle in the selected Angles box, select a set of angles from the Angles pop-up menu, or select a set of angles from the pop-up menu and change one of the values in the box to customize a set of angles. The preview reflects your settings.

Snapping Tolerance

Specifies the number of points the pointer must be from another object for Smart Guides to take effect.

To measure the distance between objects

The Measure tool calculates the distance between any two points and displays the results in the Info palette.

Select the Measure tool .

Do one of the following:

•

Click the two points to measure the distance between them.

•

Click the first point and drag to the second point. Shift-drag to constrain the tool to multiples of 45˚.

The Info palette shows the horizontal and vertical distances from the

and

axes, the absolute horizontal and vertical distances, the total distances, and the angle measured.

About the Info palette

You use the Info palette to get information on the area beneath the pointer and on selected objects. To display the

Info palette, choose Window > Info.

•

When an object is selected and a selection tool is active, the Info palette displays the object’s

and

coordinates, width (

), and height (

). The values for width and height are affected by the Use Preview Bounds option in the

General preferences. When Use Preview Bounds is selected, Illustrator includes the stroke width (and other attributes such as drop shadows) in the object’s dimensions. When Use Preview Bounds is deselected, Illustrator measures only the dimensions defined by the object’s vector path.

•

When you use the Pen tool or Gradient tool, or when you move a selection, the Info palette displays the change in x (

), the change in y (

), the distance (

), and the angle as you drag.

•

When you use the Zoom tool, the Info palette displays the magnification factor and the

and

coordinates after you release the mouse button.

•

When you use the Scale tool, the Info palette displays the percentage change in width (

) and height (

) and the new width (

) and height (

) after the scaling is complete. When you use the rotate or reflect tools, the Info palette displays the coordinates of the object’s center and the angle of rotation or reflection .

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User Guide

•

When uou use the Shear tool, the Info palette 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 palette displays the

and

coordinates and the name of the current brush.

•

Select Show Options from the palette menu or click the double arrow on the palette tab to show values for the fill and stroke colors of the selected object and the name of any pattern, gradient, or tint applied to the selected object.

Note:

If you select multiple objects, the Info palette displays only the information that is the same for all selected objects.

Customizing the work area

To save a custom workspace

By saving the current screen layout as a workspace, you’ll be able to return to it, even if you move or close a palette.

Choose Window > Workspace > Save Workspace.

Enter a name for the workspace, and click OK.

To switch between workspaces

❖

Choose Window > Workspace, and select a workspace from the submenu.

Assign keyboard shortcuts to each workspace to navigate among them quickly.

See also

“To customize keyboard shortcuts” on page 525

To manage workspaces

Choose Window > Workspace > Manage Workspaces.

Do any of the following:

•

To rename a workspace, select it, and edit the text.

•

To delete a workspace, select it, and click the Delete button.

•

To duplicate a workspace, select it, and click the New button.

Setting preferences

About preferences

Preferences

are options regarding how you want Illustrator to work, including those for display, tools, ruler units, and exporting information. Your preferences are saved in a file called AIPrefs (Windows) or Adobe Illustrator Prefs

(Mac OS), which is launched each time you start Illustrator. To restore Illustrator’s default settings, you can remove or rename preferences file and relaunch Illustrator. This can be helpful if you are having problems with the appli cation.

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User Guide

Note:

It is safe to remove the entire Adobe Illustrator CS Settings folder. This folder contains various preferences that can be regenerated.

You set preferences in the Preferences dialog box. To open the Preferences dialog box, choose Edit > Preferences

(Windows) or Illustrator > Preferences (Mac OS), followed by the type of preferences you want. To switch to different options in the Preferences dialog box, select an option from the menu at the top left of the Preferences dialog box. You can also click Next to display the next options, or click Prev to display the previous options.

About plug-in modules

Plug-in modules

are software programs that add features to Adobe Illustrator. A number of special effects plug-ins come with your program and are automatically installed in the Plug-ins folder inside the Illustrator folder.

To get information about a plug-in, choose Help > About Plug-ins (Windows) or Illustrator > About Plug-ins

(Mac OS). To use a different folder as your plug-ins folder, choose Edit > Preferences > Plug-ins & Scratch Disks

(Windows) or Illustrator > Preferences > Plug-ins & Scratch Disks (Mac OS), and select the folder. Then restart

Illustrator in order for the plug-in modules to take effect.

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.

Note:

The open architecture of the Adobe Illustrator program allows developers outside of Adobe to create features that are accessible from within Adobe Illustrator. If you are interested in creating plug-in modules compatible with Adobe

Illustrator, see the Adobe Systems U.S. website at www.adobe.com

About startup files

When you create a new document from scratch, Illustrator uses a

startup file

to define the default look and attributes of the document. There are two startup files: one for CMYK documents and one for RGB documents. These files are located in the Plug-ins folder in the Adobe Illustrator application folder.

By customizing a startup file, you can redefine the default graphic styles, swatches, brushes, symbols, actions, graph designs, fill and stroke attributes, viewing preferences, magnification level, document size, illustration window size, and scroll position for new documents. Creating a custom startup file gives you easy access to document features that you use most frequently, by making them available in every new Illustrator file you create.

Create a template instead of customizing the startup files. You can create as many templates as you want, whereas you are limited to customizing two startup files.

See also

“About templates” on page 34

To create a custom startup file

Open the startup file you want to customize (Adobe Illustrator Startup_CMYK or Adobe Illustrator

Startup_RGB) in the Plug-ins folder in the Adobe Illustrator application folder.

Make a copy of the original startup file in case you need it again.

Delete any existing swatches, graphic styles, brushes, or symbols you don’t want to retain.

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User Guide

Note that you must delete them from their respective palettes as well as from the artwork in the startup file.

Do any of the following:

•

Create any colors, patterns, and gradients you want, and save them as swatches. You can also import swatches using the Swatch Libraries command and then move the swatches you want in the startup file into the default

Swatches palette.

•

Save any graph designs that you want available in your files using the Graph Design dialog box. As with the new paint style attributes, add the graphs to the artwork in the startup file so you can see and refer to the graphs later if necessary.

•

Create any graphic styles you want and save them to the Graphic Styles palette.

•

Create any brushes you want and save them to the Brushes palette.

•

Create any symbols you want and save them to the Symbols palette.

Select the options you want as default settings from the following: View preferences (from the View menu), ruler origins, page origins, print settings (in the Print dialog box, File > Print), and actions.

Save the startup file and restart Illustrator.

Recovery and undo

Undoing and redoing changes

You can use the Undo command (Edit > Undo) to correct mistakes you make while using the Adobe Illustrator program. You can even undo an operation after you select the Save command (but not if you have closed and then reopened the file). If an operation cannot be undone, the Undo command is dimmed.

Depending on how much memory is available, you can undo an unlimited number of the last operations you performed, in reverse order, by repeatedly choosing the Undo command.

You can use the Redo command (Edit > Redo) to reapply operations you previously undid. You can also revert a file to the version that was last saved (but not if you have closed and then reopened the file) by choosing File > Revert.

You cannot undo this action.

Chapter 4: Adobe Bridge

The basics of Bridge

About Adobe Bridge

Adobe Bridge is the control center for Adobe Creative Suite. You use it to organize, browse, and locate the assets you need to create content for print, the web, and mobile devices. Adobe Bridge keeps native PSD, AI, INDD, and Adobe

PDF files as well as other Adobe and non-Adobe application files available for easy access.You can drag assets into your layouts as needed, preview them, and even add metadata to them. Bridge is available independently, as well as from within Adobe Photoshop, Adobe Illustrator, Adobe InDesign, and Adobe GoLive.

File browsing

From Bridge you can view, search, sort, manage, and process image files. You can use Bridge to create new folders; rename, move, and delete files; edit metadata; rotate images; and run batch commands. You can also view information about files and data imported from your digital camera.

Version Cue

If you have Adobe Creative Suite, you can use Bridge as a central location from which to use Adobe

Version Cue. From Bridge, you can browse all the files in a project in one place without having to start the native application for each file, including non-Adobe application files. Also, you can create new Version Cue projects, delete projects, create versions, save alternates, and set access privileges in Bridge. See “Working with Version Cue in

Bridge” on page 69.

Bridge Center

If you have Adobe Creative Suite, Adobe Bridge includes Bridge Center, the “dashboard” of Adobe

Creative Suite, where you can view news readers in your web browser, see your most recent activity, read about tips and tricks for using Adobe products, save groups of files, and more. Adobe Creative Suite users can also use Bridge to specify color management settings and access scripts that help automate your workflow. See “About Bridge

Center” on page 61.

Camera Raw

If you have Adobe Photoshop installed, you can open and edit camera raw files from Bridge and save them in a Photoshop-compatible format. You can edit the image settings directly in the Camera Raw dialog box without starting Photoshop. If you don’t have Photoshop installed, you can still preview the camera raw files in

Bridge. See “To open files in Bridge” on page 56.

Stock Photos

Click Adobe Stock Photos from the Favorites pane in Bridge to search leading stock libraries for royalty-free images. You can download low-resolution, complementary versions of the images and try them out in your projects before purchasing them. See “About Adobe Stock Photos” on page 71.

Color management

You can use Bridge to synchronize color settings across applications. This synchronization ensures that colors look the same no matter which Creative Suite application you view them in. See “To synchronize color settings across Adobe applications” on page 202.

See also

“The Bridge work area” on page 48

The Bridge work area

These are the main components of the Adobe Bridge window:

The menu bar

Contains commands specific to Bridge. In Windows®, the menu bar is at the top of the Bridge window. In Mac OS®, the menu bar is located at the top of the screen.

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User Guide

The Look In menu

Lists the folder hierarchy, as well as favorite and recent folders. This menu gives you a quick way to find folders containing the items you want to display. The menu is at the top of the Bridge window.

The shortcut buttons

Help you work efficiently with your files. They are located to the right of the Look In menu, at the top of the Bridge window.

The Favorites panel

Gives you quick access to folders as well as to Version Cue, Adobe Stock Photos, collections, and

Bridge Center (Adobe Creative Suite only). Like all panels, it’s located on the left side of the Bridge window.

The Folders panel

Shows the folder hierarchy. Use it to navigate to the correct folder.

The Preview panel

Displays a preview of the selected file, separate from and typically larger than the thumbnail image displayed in the content area. You can reduce or enlarge the preview.

The Metadata panel

Contains metadata information for the selected file. If multiple files are selected, shared data

(such as keywords, date created, and exposure setting) is listed.

The Keywords panel

Helps you organize your images by attaching keywords to them.

The content area

Displays thumbnail previews of the items in the current folder, along with information about those items.

The bottom of the Bridge window displays status information and contains buttons for toggling the display of the panels, a slider for setting the size of thumbnails, and buttons for specifying the type of display in the content area.

Bridge window in filmstrip view

The Look In menu

The Metadata panel

The shortcuts buttons

The content area

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User Guide

See also

“To create and close Bridge windows” on page 50

“To use Bridge in Compact mode” on page 50

To start and quit Bridge, and to return to an application

Do any of the following:

•

To open Bridge from an application, choose File > Browse from your application.

•

(Windows) To open Bridge directly, choose Adobe Bridge from the Start menu.

•

(Mac OS) To open Bridge directly, double-click the Adobe Bridge icon . By default, this is located in the Appli cations/Adobe Bridge folder.

•

To quit Bridge, choose File > Exit (Windows) or Bridge > Quit Bridge (Mac OS).

•

To return to the last open application that started Bridge, choose File > Return To

[Application]

See also

“About Adobe Bridge” on page 48

“To manage files with Bridge” on page 57

To create and close Bridge windows

❖

Do one of the following:

•

Choose File > New Window to create a full-size Bridge window.

•

Choose File > Close Window. In Windows, this command quits Bridge as well.

See also

“The Bridge work area” on page 48

“To use Bridge in Compact mode” on page 50

To use Bridge in Compact mode

Switch to Compact mode when you want to shrink the Bridge window, hiding the panels and simplifying the content area. A subset of common Bridge commands remains available from the pop-up menu at the top right of the window.

By default, the Compact mode Bridge window floats on top of all windows. (In Full mode, the Bridge window can move behind application windows.) This floating window is useful because it is always visible and usable as you work in different applications. For instance, you might use Compact mode after you select the files you plan to use, and then drag them into the application as you need them.

Click the Switch To Compact Mode button .

Do any of the following:

•

Choose commands from the menu at the top right of the Bridge window.

•

Click the Switch To Ultra Compact Mode button to hide the content area, further minimizing the Bridge window. You can click the button again to return to Compact mode.

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User Guide

•

Click the Switch To Full Mode button to return to Full mode, displaying the content area and the panels, and letting Bridge move behind the current application window.

See also

“The Bridge work area” on page 48

To adjust the Bridge window

You can adjust the Bridge window by moving and resizing the panels. For example, you can enlarge the Preview panel to display bigger thumbnails. You can’t, however, move panels outside the Bridge window.

❖

Do any of the following:

•

Drag a panel by its tab up or down into another panel area.

•

Drag the horizontal divider bar between panels to make them larger or smaller.

•

Drag the vertical divider bar between the panels and the content area right or left to resize the panels or content area.

•

Click the Show/Hide Panes button at the lower left of the Bridge window to display or hide the panels.

•

Choose View, followed by the name of the panel you want to display or hide.

See also

“The Bridge work area” on page 48

To select Bridge workspaces

A Bridge workspace is a certain configuration or layout of the work area. You can select either a premade one or a custom one that you have previously saved. You can use a preset configuration or switch between different configu rations best suited for specific tasks, such as sorting photos.

Note:

A Bridge workspace is different from a Version Cue Workspace. Your work in Bridge workspaces has no effect on the Version Cue Workspaces.

❖

Choose Window, followed by the name of the workspace you want, or choose Window > Workspace, followed by one of the following commands:

Lightbox

Displays just the content area of Bridge, so that you can concentrate on viewing the files.

File Navigator

Displays the content area in Thumbnails view, along with the Favorites panel and Folder panel.

Metadata Focus

Displays the content area in Thumbnails view, along with the Metadata panel prominently shown.

Filmstrip Focus

Displays just the content area, in Filmstrip view.

See also

“To save and delete Bridge workspaces” on page 51

To save and delete Bridge workspaces

You can save the current Bridge layout (that is, the work area configuration) as a workspace and reuse it later. By saving Bridge in various configurations, you can work in (and quickly switch between) different layouts of the work area. For instance, you might use one workspace to sort new photos and another to work with Adobe InDesign files.

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User Guide

Note:

A Bridge workspace is different from a Version Cue Workspace. Your work in Bridge workspaces has no effect on

Version Cue Workspaces.

❖

Choose Window > Workspace, followed by one of these commands:

Save Workspace

Saves the current Bridge layout as a workspace so that you can reuse it later, even if you move a panel or change the view in the content area. If you choose this command, enter a name for the workspace and click

Save. You can also assign a keyboard shortcut to the workspace and specify whether to save the location of the Bridge window as part of the workspace.

Delete Workspace

Deletes the saved workspace. If you choose this command, choose the workspace from the menu, and click Delete.

Reset To Default Workspace

Restores the workspace to the default configuration.

See also

“To select Bridge workspaces” on page 51

To set Bridge preferences

Choose Edit > Preferences (Windows) or Bridge > Preferences (Mac OS).

Select any of the preferences categories on the left:

General

Controls the general appearance settings. You can use this category to specify such preferences as how dark to make the content area for thumbnails, what information to show with thumbnails, and what to include in the

Favorites panel. See “Bridge General preferences” on page 52.

Metadata

Controls which sections and fields are displayed in the Metadata panel.

Labels

Assigns names to each color label and specifies whether you need to press Control as part of the keyboard shortcut combination to apply labels and ratings to files.

File Type Associations

Specifies which application to use from Bridge to open files of the named type. For any file type, you can click the name of the application (or None) and click Browse to locate an application to use. You can also reset the file type associations to their default settings as well as hide any file types that don’t have an associated application. This affects only those files that you open with Bridge, and overrides the Explorer (Windows) and Finder

(Mac OS) settings.

Adobe Stock Photos

Specifies Adobe Stock Photos settings. See “To set Adobe Stock Photos preferences” on page 79.

Advanced

Specifies advanced settings, including cache options and language options. See “Bridge Advanced prefer ences” on page 53.

Click OK.

Bridge General preferences

Set any of the following General preferences and click OK:

Background

Specifies the darkness of the content area in which thumbnails are shown.

Show Tooltips

Specifies whether to display Bridge help information when you position the pointer over an item.

(This preference does not affect settings for Version Cue tool tips, which display metadata for items.)

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Additional Lines Of Thumbnail Metadata

Specifies whether to show additional metadata information with thumb nails in the content area. If you select this option, you can choose the type of metadata to show from the associated menu. You can display up to three extra lines of information.

Favorites Items

Specifies what items to show in the Favorites panel. Certain options are dimmed if you do not have those items.

Reveal Scripts In Finder

Opens the folder that contains scripts (the commands available in the Tools menu).

Reset All Warning Dialogs

Resets warning notices in Bridge to their default settings.

See also

“To set Bridge preferences” on page 52

Bridge Advanced preferences

Set any of the following Advanced preferences and click OK:

Do Not Process Files Larger Than

Specifies the maximum file size of documents for which Bridge automatically creates thumbnails. Displaying large files can slow performance.

Number Of Recently Visited Folders To Display In The Look In Popup

Sets the number of most recently viewed folders that appear in the Look In menu.

Language

Sets the language used in the Bridge interface. Select Automatic to set the language to the one specified for Bridge by the program that installed it.

Show Camera Raw Interface On Open

Opens camera raw files in the Adobe Camera Raw dialog box in Adobe

Photoshop.

Use A Centralized Cache File

Places the two cache files created for each folder you view in a centralized folder. A centralized cache is generally easier to use than a distributed cache. For instance, when the cache is centralized, you don’t have to search in multiple, distributed locations if you want to remove the cache. To specify a new name or location for this centralized cache folder, click Choose.

Use Distributed Cache Files When Possible

Places the two cache files created for each folder you view in the viewed folder, if possible. For instance, it’s not possible to place the cache files in the viewed folder if that folder is on a burned

CD. In that case, Bridge places the cache files in the centralized folder instead. However, if you are burning a CD, using a distributed cache means that you don’t have to export the cache to the CD, because it is already in the folder you are burning to the CD. Also, using distributed cache files preserves the cache in a folder if you rename that folder.

See “To work with the cache in Bridge” on page 53.

Note:

Cache files are hidden files. To view them in Bridge, choose View > Show Hidden Files.

See also

“To set Bridge preferences” on page 52

To work with the cache in Bridge

The cache stores thumbnail, metadata, and file information to shorten loading times when you return to a previously viewed folder. However, storing the cache takes up disk space.

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User Guide

Note:

Purging the cache deletes the metadata cache and thumbnail cache. If the metadata can’t be written to a file, label and rating information is lost as well.

❖

Choose any of the following commands from the Tools > Cache submenu:

Build Cache For Subfolders

Builds, as a background process, a cache for the selected folder and all the folders within it (except aliases/shortcuts to other folders), shortening the time spent waiting for the cache to be displayed as you look in subfolders.

Purge Cache For This Folder

Clears the cache for the selected folder. This command is useful if you suspect that the cache for a folder is old and needs to be regenerated.

Purge Central Cache

Clears the entire centralized cache and any distributed cache in the currently viewed folder, freeing room on the hard drive. The command does not otherwise clear local caches.

Export Cache

Exports the cache, allowing you to burn a CD with the cache already generated. Because the folder cache is written into the folder, the thumbnail cache and metadata cache are available after you burn the CD. This option is active only if you chose Use A Centralized Cache File in the Preferences dialog box.

See also

“About Adobe Bridge” on page 48

Files and folders in Bridge

To view file and folder thumbnails in Bridge

The content area of Bridge displays thumbnails of the files and folders of the selected folder, along with information about them (depending on your view).

You can specify how you want files and folders are displayed in the content area; for instance, you can decide how big thumbnails should be, how they should appear, and whether file information should be displayed.

❖

Do any of the following:

•

Drag the Thumbnail slider at the bottom of the Bridge window to adjust the size of thumbnails. You can also click the buttons at either side of the Thumbnail slider to minimize or maximize the thumbnails.

•

Click the Thumbnail View button display items in a grid. at the bottom of the Bridge window or choose View > As Thumbnails to

•

Click the Filmstrip View button or choose View > As Filmstrip to display thumbnails in a scrolling list along with an extra-large thumbnail of the currently selected item. Click the Back button or Forward button directly below the extra-large thumbnail to go to the previous or next thumbnail. Click the Switch Filmstrip Orientation button to change from a horizontal slide show to a vertical one. Note that you can page through a PDF preview in Filmstrip view.

•

Click the Details View button or choose View > As Details to display a scrollable list of thumbnails along with information about the selected file, such as its creation date, file type, pixel size, and file size. For Version Cue files, there is additional information about the number of versions or alternates as well as enhanced status infor mation along with the current version comment.

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User Guide

•

Click the Versions And Alternates View button or choose View > As Versions And Alternates to display a scrollable list of thumbnails along with thumbnails of any Version Cue alternates and versions for each item. (Only the current file appears unless you have created an alternates group containing the file or created previous versions of the file.) Click Alternates View or Versions View at the top right of the content area to display thumbnails of alternates or versions. In Alternates View, you can also create alternates groups containing files that are not in the current folder.

•

Choose View > Show Thumbnail Only to view thumbnails without any text information listed. However, Version

Cue tool tips still display Version Cue information when you position the pointer over the thumbnail.

•

Choose View > Slideshow to view thumbnails as a slide show that takes over the entire screen. This is a quick and easy way to display and work with large versions of all the graphics files in a folder. Instructions on how to use the slide show are displayed on the screen when you choose this command.

Depending on the view you’re in, you can display extra file information by positioning the pointer over a thumbnail in the content area. For files in Version Cue projects, you can also choose File > Versions or File Alternate. This command opens a dialog box that lets you work with the file’s versions or alternates without having to select that view in the Bridge content area.

To specify how files and folders are shown in Bridge

You can specify what type of files and folders you want to display as thumbnails in the content area, as well as the order in which to display them.

❖

Choose any of the following commands from the View menu:

•

Sort, followed by the order in which you want to sort files. Choose Ascending to sort in ascending rather than descending order. Choose Manually to sort by the last order in which you dragged the files.

•

Show Hidden Files to display hidden files, such as cache files and Version Cue files that have been provisionally removed (not permanently deleted) from Version Cue projects.

•

Show Folders to display folders as well as individual files.

•

Show All Files to display all files regardless of type, even non-Adobe files that Bridge doesn’t normally display.

•

Show Graphic Files Only to display only files in graphic file formats, such as EPS, JPEG, BMP, PS, TIFF, and GIF.

•

Show Camera Raw Files Only to display only camera raw files.

•

Show Vector Files Only to display only files created with drawing programs such as Adobe Illustrator, and EPS and

PS files.

•

Refresh (or choose Refresh from the Folders panel menu) to update the content area. This is useful, for instance, when you perform certain Version Cue actions that don’t automatically refresh the view in the content area.

Closing and reopening Bridge also refreshes the view.

You can also click Unfiltered at the top right of the Bridge window and choose the files you want to display based on their rating or label. The Unfiltered menu operates independently of the View > Sort commands.

To navigate folders and files with Bridge

❖

Do any of the following:

•

Select the Folders panel and click to select the folder you want. Click the plus sign (Windows) or triangle (Mac OS) next to a folder or double-click the folder to open subfolders within it.

•

Select the Favorites panel and click to select the folder you want.

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User Guide

•

Choose a folder from the Look In menu. You can click the Go Back button, Go Forward button, or Go Up button next to the menu to navigate within the current folder listed in the menu.

See also

“To specify how files and folders are shown in Bridge” on page 55

To select files in Bridge

Before you can work with a file, you need to select it. You can select more than one file at a time.

❖

Do one of the following in the current folder:

•

Click the thumbnail of a file.

•

To select contiguous files, Shift-click them.

•

To select noncontiguous files, Ctrl-click (Windows) or Command-click (Mac OS) them.

•

To select all the files, choose Edit > Select All.

•

To select all labeled files, choose Edit > Select Labeled.

•

To select all unlabeled files, choose Edit > Select Unlabeled.

•

To select the opposite of the current selection, choose Edit > Invert Selection.

•

To deselect all selected files, choose Edit > Deselect All.

See also

“To manage files with Bridge” on page 57

“To manage folders with Bridge” on page 58

To open files in Bridge

You can open files in Bridge, even files that were not made with Adobe Creative Suite applications.

Select the file in the current folder.

Do one of the following:

•

Choose File > Open.

•

Press Enter (Windows) or Return (Mac OS).

•

Double-click the file in the content area or Preview panel.

•

Choose File > Open With, followed by the name of the application with which to open the file.

•

Drag the file into the working area of an application, such as an open Illustrator document.

•

Drag the file onto the application icon.

•

Choose File > Open With Camera Raw to edit the Adobe camera raw settings for the file.

See also

“To manage files with Bridge” on page 57

“To manage folders with Bridge” on page 58

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User Guide

To manage files with Bridge

Adobe Bridge makes it easy to drag and drop files, move them between folders, copy and duplicate them, and otherwise manipulate them.

Note:

From Bridge, you can also use Adobe Version Cue to manage files you author in Adobe Creative Suite applications.

You can create and manage revisions to files kept in Version Cue projects. Version Cue is also a convenient environment for collaborative file management in workgroups. You can manage not only Adobe Creative Suite files but also non-

Adobe files.

❖

Do any of the following:

To delete files

Select the files and click the Delete button , click Delete on your keyboard, choose File > Send To

Recycle Bin (Windows), choose File > Move To Trash (Mac OS), drag the file to the Recycle Bin or Trash, or choose

Edit > Cut.

To copy files and folders

Select the files or folders and choose Edit > Copy, or Ctrl-drag (Windows) or Option-drag

(Mac OS) the file or folders to a different folder.

To duplicate files

Select the files and choose Edit > Duplicate.

To paste files

Choose Edit > Paste.

To move files to another folder

Select the files and drag them to a different folder. (When you search for Adobe

Stock Photos, you can’t drag images to other areas, because some images may be comp thumbnails. To drag a comp image, first download it and then drag it from the downloaded comp’s folder.)

To quickly attach an image to an e-mail message, drag the image from Bridge and drop it into the e-mail message.

To rename files

Click the file name, type a new name, and press Enter (Windows) or Return (Mac OS).

To manually reorder files in the content area

Drag the file to a new location in the content area.

To display the location of a file in the operating system

Select the file and choose File > Reveal In Explorer

(Windows) or File > Reveal In Finder (Mac OS).

To find the location of a file in a collection

Select a file and choose File > Reveal In Bridge. By default, if you select a file in a collection, it is listed as being located in the folder “File Results.” Selecting Reveal In Bridge moves you to the folder in which the file is located.

To place files into an application

Select the files and choose File > Place, followed by the name of the application. For instance, you can use this command to place a JPEG image into Illustrator. You can also drag files from Bridge into an application. Depending on the file, the document into which you want to place it may need to be open first.

To eject attached media such as CDs and DVDs

Select the medium and choose File > Eject.

To drag files out of Bridge

Select the files and drag them onto the desktop or into another folder. This action copies the file (Windows) or moves the file (Mac OS) onto the desktop or folder.

To drag files into Bridge

Select one or more files on the desktop, in a folder, or in another application that supports drag and drop, and drag them into the content area in Bridge. The files are moved from their current folder into the one displayed in Bridge. (If the file you are dragging is in a different mounted volume than Bridge, the file is copied into Bridge.)

Drag a file or folder onto the Preview panel to display the contents of the folder in Bridge.

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User Guide

See also

“To search for files and folders with Bridge” on page 60

“To batch-rename files with Bridge” on page 63

“To run automated tasks with Bridge” on page 62

“Working with Version Cue in Bridge” on page 69

To manage folders with Bridge

❖

Do any of the following:

To create new folders

Click the Create A New Folder button or Choose File > New Folder. Then, enter a name when the folder appears in the content area.

To delete folders

Select the folder and click the Delete button , press Delete on your keyboard, or choose File >

Move To Recycle Bin (Windows) or File > Move To Trash (Mac OS).

To add folders to Favorites

Choose a folder from the Look In menu or Folders panel or select it in the content area.

Then choose File > Add To Favorites. You can also drag the folder from the content area to the Favorites panel.

To remove folders from Favorites

In the Favorites panel, select the folder you want to remove. Then choose File >

Remove From Favorites.

To reorganize folders in the Favorites panel

Drag the folder to the desired location in the panel.

To rename folders

Click the folder name, type a new name, and press Enter (Windows) or Return (Mac OS).

See also

“About Adobe Bridge” on page 48

“To manage files with Bridge” on page 57

To rotate images with Bridge

You can rotate the view of JPEG, PSD, TIFF, and camera raw file images in Bridge. Rotating an image in Bridge may rotate it in the application in which it was created as well. Rotating does not affect the data in the image file.

Select one or more images in the content area.

Do one of the following:

•

To rotate the images 90˚ clockwise, click the Rotate 90˚ Clockwise button or choose Edit > Rotate 90˚

Clockwise.

•

To rotate the images 90˚ counterclockwise, click the Rotate 90˚ Counterclockwise button or choose

Edit > Rotate 90˚ Counterclockwise.

•

To rotate the image 180˚, choose Edit > Rotate 180˚.

See also

“About Adobe Bridge” on page 48

“To manage files with Bridge” on page 57

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User Guide

To label files with Bridge

Labeling files with a color is a flexible way to quickly mark a large number of files. Using the View > Sort menu or

Unfilter button, you can choose to view files according to their label.

For example, suppose you’ve just imported a large number of images and are viewing them in Bridge. As you review each new image, you can label those you want to keep. After this initial pass, you can use the Unfilter button to display and work on files you’ve labeled with a particular color.

You can assign names to labels through the Preferences dialog box. The name is then added to the file’s metadata when you apply the label.

Note:

When you view folders, Bridge shows both labeled and unlabeled files until you choose another option. Also, purging the cache deletes labels from files that don’t support XMP write (such as BMP, DCS, Pict, PS6 PDF, and PSB files), locked files, or read-only files (such as files on CDs).

Select one or more files.

Do one of the following:

•

To label files, choose a color from the Label menu.

•

To remove labels from files, choose Label > No Label.

See also

“About Adobe Bridge” on page 48

“To specify how files and folders are shown in Bridge” on page 55

To rate files with Bridge

You can assign ratings to files, awarding from zero to five stars. Using the View > Sort menu or Unfilter button, you can choose to view files according to their rating.

For example, suppose you’ve just imported a large number of images and are viewing them in Bridge. As you review each new image, you can rate them from best to worst. After this initial pass, you can view only files you’ve rated with four or five stars and work on those.

Select one or more files.

Do any of the following:

•

In Thumbnail view, click the dot representing the number of stars you want to give the file. (Dots do not appear in very small thumbnail views. If necessary, rescale the thumbnail view until the dots appear.)

•

Choose a rating from the Label menu.

•

To add one star, choose Label > Increase Rating.

•

To remove one star, choose Label > Decrease Rating.

•

To remove all stars, choose Label > No Rating or click the No Rating icon on the thumbnail of the file.

See also

“About Adobe Bridge” on page 48

“To specify how files and folders are shown in Bridge” on page 55

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User Guide

To search for files and folders with Bridge

You can perform searches with Bridge. You can narrow your search by adding multiple search criteria. You can even save your search criteria as a

collection

, so that you can perform the same search again later.

Note:

For information on searching for Adobe Stock Photos with Bridge, see Help.

Choose Edit > Find.

In the Find dialog box, choose a source folder from the Look In menu. By default, the menu displays the currently active folder. Click the Browse button to navigate to another folder.

(Optional) Select Include All Subfolders to expand the search to any subfolders in the source folder.

(Optional) Select Search Past Versions Of Version Cue Files to include past versions of Adobe Version Cue files, as well as current ones, in the search.

(Optional) Select Show Find In A New Browser Window to display the search results in a new Bridge window. If left unselected, the search results appear in the content area of the current window.

Choose a criterion for your search by selecting an option from the leftmost Criteria menu.

Select a limiter from the center Criteria menu.

Enter the search text in the text box at the right, if needed. You can enter basic search terms such as AND, OR, and * (for wild cards).

To add search criteria, click the plus sign button. To remove search criteria, click the minus sign button.

Click Find. Bridge displays the files that match the search criteria, and you can navigate through the files.

(Optional) To save the search criteria to perform the same search again, click Save As Collection. Enter a name for the collection. Select Start Search From Current Folder to search from the same folder in the future. Then, click

Save. The search criteria are saved in the Collections folder listed in the Favorites panel.

See also

“To manage files with Bridge” on page 57

“To search with criteria saved as collections” on page 60

To search with criteria saved as collections

If you saved search criteria by using the Save As Collection option in the Find dialog box, you can run that search again by using that collection.

Select Collections in the Favorites panel or Look In menu.

Double-click the collection you want.

A new Bridge window appears containing the results of the search.

See also

“To manage files with Bridge” on page 57

“To search for files and folders with Bridge” on page 60

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User Guide

Bridge Center

About Bridge Center

If you are working with the Adobe Creative Suite, Bridge Center gives you quick access to your most recent files and folders, RSS newsreaders for the latest information, tips and tricks for using Adobe products, color management features, and Help documentation. It even lets you start new Version Cue projects.

To display Bridge Center, select it in the Favorites panel.

Note:

If you don’t see Bridge Center in the Favorites panel, make sure that Center is selected in the General preferences.

See “To set Bridge preferences” on page 52.

Adobe Stock Photos

Opens the Adobe Stock Photos home page in Bridge.

Saved File Groups

Lists sets of files that you have saved as a group, even if they are being used in separate applica tions. When you create a saved file group, you assemble and name a set of files, which Bridge then closes. When you open a saved file group, Bridge reopens the current version of those files, launching the appropriate Adobe Creative

Suite applications as needed. See “To work with saved file groups in Bridge Center” on page 61.

Note:

Saved file groups do not preserve versions of files; groups always contain the most current version of the files. For instance, suppose you include the file logo.jpg in a saved file group. If you open the saved file group later, edit the logo.jpg file, and save it in another group, both saved file groups will contain the same logo.jpg file.

Recent Folders

Lists your most recently visited folders. See “To use recent folders or files from Bridge Center” on page 62.

Recent Files

Displays the most recently opened files.

RSS Reader

RSS displays shared web content, such as headlines from different websites and the latest information on products from Adobe. RSS stands for

Really Simple Syndication

and is an XML format used to gather and distribute web content while reducing traffic to websites. See “To use RSS content in Bridge Center” on page 62.

Tips And Tricks

Lists helpful tips and tricks for getting the most out of Adobe Creative Suite and other Adobe appli cations. Click the Next button or Previous button to go to the next or previous tips and tricks topic.

Note:

Click Close or Open located above the bottom tabs to hide or reveal the RSS Reader area and Tips And Tricks area.

New Version Cue Project

Opens the New Version Cue project and displays a dialog box for creating a new project.

Color Management/Open Color Settings

Opens the Color Settings dialog box so that you can manage color for

Adobe Creative Suite applications. Also displays the Adobe Creative Suite Color Settings state (Synchronize or

Unsynchronize).

Open Help

Starts Adobe Help Center.

To work with saved file groups in Bridge Center

Click Bridge Center in the Favorites panel.

Note:

Bridge Center is available with Adobe Creative Suite only.

In the Saved File groups, do any of the following:

•

To save your currently open files as a group, click the text Save Open Files into a File Group.

•

To open a saved file group, select the group and click the text Open this File Group.

•

To display a group in the content area, click the name of that file group.

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User Guide

•

To delete a saved file group, select the group and click Delete at the bottom.

To use recent folders or files from Bridge Center

Click Bridge Center in the Favorites panel.

Note:

Bridge Center is available with Adobe Creative Suite only.

In the Recent Folders or Recent Files Group, do any of the following:

•

To display a folder in the content area, click that folder.

•

To sort the folders by name or date, click Name or Date.

•

To open a file in the default application, click the file thumbnail or file name.

•

To display the folder that contains a file, click the Shell icon the content area.

next to the file name. The folder is displayed in

•

To sort the folders by name, date, or type, click Name, Date, or Type.

To use RSS content in Bridge Center

RSS (Really Simple Syndication) is an XML format for gathering and distributing web content. It displays web content, such as the latest information on Adobe products.

Click Bridge Center in the Favorites panel.

Note:

Bridge Center is available with Adobe Creative Suite only.

In the RSS Reader section, do any of the following:

•

To view content, click to select an RSS site from the list on the left, and then click to select a specific topic from the list on the right. If you want, click More to start your default web browser and display further information on the topic from that RSS website.

•

To add the URL of an RSS site, click the plus sign (+) at the top of the tab.

•

To delete an RSS site from the list, select the site and click the minus sign (-).

•

To specify how often to check RSS sites for updates, click Open Settings and enter a number specifying the interval, in hours.

•

To check the RSS sites for updates manually, Click Update Now.

Running automated tasks with Bridge

To run automated tasks with Bridge

The Tools menu contains submenus for various commands available in the different Adobe Creative Suite applica tions. For instance, if you have Adobe Photoshop installed, you can use the commands under the Tools > Photoshop submenu to make picture packages and create Photomerge panoramas using photos you select in Bridge. Running these tasks from Bridge saves time because you don’t have to open each file individually.

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User Guide

Note:

Third parties can also create and add their own items to the Tools menu for added functionality in Bridge. For information about creating your own scripts, see Bridge JavaScript Scripting Reference.

Select the files or folders you want to use. If you select a folder, the command is applied where possible to all files in the folder.

Choose Tools >

[Application]

, followed by the command you want. (If your application doesn’t have any automated tasks available, no application name appears in the menu.)

For information about a particular command, see the documentation for that application.

See also

“About Adobe Bridge” on page 48

“To manage files with Bridge” on page 57

“To batch-rename files with Bridge” on page 63

To batch-rename files with Bridge

You can rename files and folders in a group, or batch. When you batch-rename files, you can choose the same settings for all the selected files, saving time.

Do one of the following:

•

Select the files that you want to rename.

•

Select a folder in the Folders panel. The new setting will apply to all the files in the folder.

Choose Tools > Batch Rename.

Set the following options and click Rename:

•

For Destination Folder, select whether you want to place the renamed files in the same folder or in a different folder, move them to another folder, or place a copy in another folder. If you select Move To Other Folder or Copy

To Other Folder, click Browse to select the folder.

•

For New Filenames, choose elements from the menus or enter text into the text boxes. The specified elements and text are combined to create the new file name. You can click the + button or - button to add or delete elements. A preview of the new file name appears at the bottom of the dialog box.

Note:

If you choose Sequence Number, enter a number. The number is automatically incremented for each file named.

•

Select Preserve Current File Name In XMP Metadata if you want to retain the original file name in the metadata.

•

For Compatibility, select the operating systems with which you want renamed files to be compatible. The current operating system is selected by default, and you can’t deselect it.

See also

“About Adobe Bridge” on page 48

“To manage files with Bridge” on page 57

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User Guide

Metadata in Bridge

About metadata

Metadata

is information about the file, such as its author, resolution, color space, copyright, and keywords applied to it. You can use metadata to streamline your workflow and organize your files. This information is stored in a standardized way using the Extensible Metadata Platform (XMP) standard on which Adobe Bridge and the Adobe

Creative Suite applications are built. XMP is built on XML, and in most cases the information is stored in the file so that it isn’t lost. If it is not possible to store the information in the file itself, XMP metadata is stored in a separate file called a

sidecar file

Many of the powerful Bridge features that allow you to organize, search, and keep track of your files and versions depend on XMP metadata in your files. Bridge provides two ways of working with metadata: through the Bridge

Metadata panel and through the File Info dialog box. These methods provide different views into the XMP metadata stored in the file. In some cases, multiple views may exist for the same property; for example, a property may be labeled Author in one view and Creator in another, but both refer to the same underlying property. Even if you customize these views for specific workflows, they remain standardized through XMP. The Advanced view in the

File Info dialog box displays the fundamental values being stored.

Metadata that is stored in other formats, such as EXIF, IPTC (IIM), GPS, and TIFF, is synchronized and described with XMP so that it can be more easily viewed and managed. Other applications and features (for example, Adobe

Version Cue) also use XMP to communicate and store information such as version comments. For instance, when you save a file in Version Cue, you might add the comment that you rotated the file when you worked on it. Later on, you could use Bridge to navigate to that Version Cue project and search for the term “rotate” to locate that file.

In most cases the metadata remains with the file even when the file format changes, for example, from PSD to JPG.

Metadata is also retained when those files are placed in an Adobe InDesign layout.

You can use the XMP Software Development Kit to customize the creation, processing, and interchange of metadata.

For example, you can use the XMP SDK to add fields to the File Info dialog box. More information on XMP and the

XMP SDK is available from the Adobe Solutions Network ( www.adobe.com/xmp ).

About the Metadata panel in Bridge

From the Metadata panel, you can view and edit the metadata for selected files, use metadata to search for files, and use templates to append and replace metadata. Metadata preserves information about the contents, copyright status, origin, and history of documents. Version Cue uses metadata to manage files.

You can specify the types of metadata displayed in the Metadata panel.

Note:

If you have applied metadata to an Adobe Acrobat® PDF file, some keywords may not appear; however, these keywords are still attached to the PDF file.

Depending on the selected file, the following types of metadata appear in the Bridge Metadata panel:

File Properties

Describes the characteristics of the file, including the size, creation date, and modification date.

IPTC Core

Displays editable metadata. You can add captions to your files as well as copyright information. IPTC

Core is a new specification that was approved by IPTC (International Press Telecommunications Council) in

October 2004. It differs from the older IPTC (IIM, legacy) in that new properties have been added, some property names have changed, and some properties have been deleted. You can display the older IPTC (IIM, legacy) metadata by selecting it from the Metadata options in the Preferences dialog box.

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IPTC (IIM, legacy)

Displays editable metadata. As with IPTC Core, you can add captions to your files as well as copyright information.This set of metadata is hidden by default, because it has been superseded by IPTC Core.

However, you can choose it by selecting it from the Metadata options in the Preferences dialog box.

Fonts

Lists the fonts used in Adobe InDesign files.

Swatches

List the swatches used in Adobe InDesign files.

Camera Data (Exif)

Displays information assigned by digital cameras. EXIF information includes the camera settings used when the image was taken.

GPS

Displays navigational information from a global positioning system (GPS) available in some digital cameras.

Photos without GPS information don’t have GPS metadata.

Camera Raw

Displays settings applied by the Camera Raw plug-in.

Edit History

Keeps a log of changes made to images with Photoshop.

Adobe Stock Photos

Lists information about images obtained from Adobe Stock Photos.

Version Cue

Lists any Version Cue version information about the file.

Note:

Depending on the applications you are using, custom panels for various properties may appear here as well.

See also

“To add metadata using the File Info dialog box” on page 66

“To view metadata with Bridge” on page 65

“To specify the metadata displayed in the Metadata panel” on page 66

To view metadata with Bridge

❖

Do any of the following:

•

Select one or more files and view the information in the Metadata panel. If you select multiple files, only metadata that is common to the files appears. Use the scroll bars to view hidden categories. Click the triangle to display everything within a category.

You can change the font size in the panel by choosing Increase Font Size or Decrease Font Size from the panel menu.

•

Select one or more files and choose File > File Info. Then, select any of the categories listed on the left.

•

Choose View > As Details or View > As Versions And Alternates to display the metadata next to the thumbnails in the content area. This is especially useful for viewing Version Cue files.

•

Position the pointer over a thumbnail in the content area. (Metadata appears in a tool tip only if Show Tooltips is selected in General preferences.)

See also

“About Adobe Bridge” on page 48

“To create and close Bridge windows” on page 50

“About the Metadata panel in Bridge” on page 64

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To edit metadata with Bridge

Click the pencil icon to the far right of the metadata field you want to edit.

Type in the text box to edit or add metadata.

Press Tab to move through metadata fields.

When you have finished editing the metadata, click the Apply button at the bottom of the Metadata panel. To cancel any changes you’ve made, click the Cancel button at the bottom of the panel.

See also

“About the Metadata panel in Bridge” on page 64

“To work with metadata templates in Bridge” on page 67

“To apply metadata templates to files in Bridge” on page 68

To specify the metadata displayed in the Metadata panel

Do one of the following:

•

Choose Preferences from the Metadata panel menu.

•

Choose Edit > Preferences (Windows) or Bridge > Preferences (Mac OS), and then click Metadata from the list on the left side of the dialog box.

Select the metadata fields that you want to display in the Metadata panel.

Select the Hide Empty Fields option if you don’t want to view fields with no information in them.

Click OK.

See also

“About Adobe Bridge” on page 48

“To create and close Bridge windows” on page 50

“About the Metadata panel in Bridge” on page 64

To add metadata using the File Info dialog box

The File Info dialog box displays camera data, other file properties, an edit history, copyright and authorship infor mation (if any), and custom metadata panels (if the application has installed them). You can add metadata directly from the File Info dialog box. If you select multiple files, the dialog box shows where different values exist for a text field. Any information you add to a field is applied to all selected files.

Note:

You can also view metadata in the Metadata panel, in certain views in the content area, and by placing the pointer over the thumbnail in the content area.

Select one or more files.

Choose File > File Info.

Select any of the following from the list on the left side of the dialog box:

Description

Lets you enter document information about the file, such as document title, author, description, and keywords that can be used to search for the document. You can also choose text from the menu to the right of the

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text fields. To specify copyright information, select Copyrighted from the Copyright Status pop-up menu. Then enter the copyright notice string and the URL of the person or company holding the copyright.

Categories

Lets you enter information based on Associated Press categories. You can also choose text from the menu to the right of the text fields. The Categories option appears only if Adobe Photoshop is installed.

History

Displays Adobe Photoshop history log information for images saved with Photoshop. The History option appears only if Adobe Photoshop is installed.

Camera Data 1

Displays read-only information about the camera and settings used to take the photo, such as make, model, shutter speed, and f-stop. The Camera Data 1 option appears only if Adobe Photoshop is installed.

Camera Data 2

Lists read-only file information about the photo, including pixel dimensions and resolution. The

Camera Data 2 option appears only if Adobe Photoshop is installed.

Adobe Stock Photos

Lists read-only information about images obtained from Adobe Stock Photos.

Origin

Lets you enter file information that is useful for news outlets, including when and where the file was created, transmission information, special instructions for handling the file, and headline information. You can also choose text from the menu to the right of the text fields.

Advanced

Displays fields and structures for storing metadata using namespaces and properties, such as file format and XMP, EXIF, and PDF properties. You can do any of the following with the information listed:

•

Click Save to export the metadata to a text (.xmp) file.

•

Click Replace to replace the metadata in the existing files with metadata saved in an .xmp file. Values in existing properties are replaced with the new values.

•

Click Append to add the metadata in the existing files to metadata saved in an .xmp file. Values in existing properties are not replaced, and new values are appended or inserted where appropriate.

•

Click Delete to remove the currently selected Advanced property. You can Shift-click to select multiple properties.

Note:

Hold down the Option key to change these commands to Replace All, Append All, and Delete All. These commands then affect all information in the file; that is, EXIF information that is not modifiable by the user, such as the f-stop and the Photoshop file ID information, as well as user-modifiable information, such as document title and keywords.

Holding down Option also displays the Reset button to restore the previous settings.

Click OK to apply the changes.

See also

“About Adobe Bridge” on page 48

“To create and close Bridge windows” on page 50

“About the Metadata panel in Bridge” on page 64

To work with metadata templates in Bridge

You can modify the metadata in the File Info dialog box and save it as a template for use with other files.

Create a new file using an Adobe Creative Suite application. This creates a file without metadata from any other source.

Select the file.

Choose File > Info.

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Enter the desired information in the File Info dialog box.

Choose any of the following from the menu at the upper right of the File Info dialog box:

•

To save the metadata in the File Info dialog box as a template for use with other files, choose Save Metadata

Template. Enter a name for the template and click Save.

•

To delete an existing metadata template, choose Delete Metadata Template. Choose the template you want to delete from the menu in the dialog box and click Delete.

•

To open the folder containing metadata templates, choose Show Templates.

Click OK. You can now also apply metadata templates to files with the Append Metadata and Replace Metadata commands in the Tools menu and in the Metadata panel menu.

See also

“About the Metadata panel in Bridge” on page 64

“To apply metadata templates to files in Bridge” on page 68

To apply metadata templates to files in Bridge

After you have saved metadata for one file, you can apply it to others.

Select one or more files.

Choose either of the following commands from the Metadata panel menu or the Tools menu:

•

Append Metadata, followed by the name of the template. This command applies the template metadata only where no metadata value or property currently exists in the file.

•

Replace Metadata, followed by the name of the template. This command completely replaces any existing metadata in the file with the metadata in the template.

See also

“About the Metadata panel in Bridge” on page 64

“To add metadata using the File Info dialog box” on page 66

To apply keywords to files with Bridge

The Keyword panel lets you create and apply Bridge keywords to files. Keywords can be organized into categories called

keyword sets

. Using keywords, you identify files based on their content. Later, you can view all files with shared keywords as a group.

Note:

Bridge keywords are distinct from XMP keywords created with the File Info dialog box. The latter are displayed in Version Cue files in the “Other Metadata” section of the File Info dialog box.

❖

Do any of the following:

•

To add a keyword to files, select one or more files. In the Keywords panel, click the box next to the name of the keyword you want to add. A check mark appears in the box next to the keyword when it’s added to a file.

•

To add a set of keywords to files, select one or more files. In the Keywords panel, click the box next to the name of the keyword set. A check mark appears in the box next to the keyword set when it’s added to a file.

Create a group of frequently used keywords so that you can apply them as a group.

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•

To remove keywords from a file, select the file, and then click the box next to the name of the keyword or keyword set that you want to remove.

•

To create a new keyword, click the New Keyword button at the bottom of the panel or choose New Keyword from the panel menu. A new default keyword name appears in the panel. To create the new keyword, type over the default name and press Return.

•

To create a new keyword set, click the New Keyword Set button at the bottom of the panel or choose New

Keyword Set from the panel menu. A new default keyword set name appears in the panel. To create the new keyword set, type over the default name and press Return.

•

To rename a keyword or keyword set, select the keyword or keyword set and choose Rename from the panel menu.

Then, type over the name in the panel and press Return.

Note:

When you rename a keyword, the keyword’s name isn’t changed in files that currently contain it. The original name stays in the file.

•

To move a keyword to a different keyword set, drag the keyword from one set to another.

•

To delete a keyword, select the keyword by clicking its name, and then click the Delete Keyword button at the bottom of the panel or choose Delete from the panel menu.

Note:

Keywords that you get from other users appear in the Other Keywords category until you recategorize them. To make these keywords permanent in Bridge, select the keyword and then choose Persistent from the context menu.

•

To find a file using the keyword, choose Find from the panel menu.

Note:

You can’t modify keywords in search results for Adobe Stock Photos.

See also

“About Adobe Bridge” on page 48

“To search for files and folders with Bridge” on page 60

Using Version Cue with Bridge

Working with Version Cue in Bridge

Adobe Bridge and Version Cue work together to give you an intuitive way to access and manage Version Cue files and projects.

Bridge provides comprehensive visualization of and centralized command over all aspects of Version Cue files and projects. You can use Bridge to access Version Cue Workspaces, create a project in any of those workspaces, and create a project folder hierarchy. You can drag files into project folders and drag files from a project folder into nonproject folders on your hard drive. You can also copy and move files within and between project folders.

The search capabilities of Bridge enable you to locate project files using file information such as version comments, or keywords or fonts contained in your files. You can view files that have been deleted (but not permanently deleted) in projects and you can restore deleted files using Bridge.

Working with versions in Bridge

As you save versions of project files as they evolve, you can use the Versions View in Bridge to see all previous versions of the files, delete previous versions, and promote previous versions. You can get information not only about the current version of a file, but also about the version comment for each previous version without having to open the files in their native applications. However, if you need to view a previous version

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in more detail, you can use Bridge and Version Cue to open that version. You can view Version Cue file info

(metadata) in the Details view, Versions And Alternates view, in tooltips, and in the Metadata panel. Bridge is instru mental in helping you create and track versions of non-Adobe file types that are in the projects in your Version Cue

Workspace. When you use Bridge to open a file in a project, you can create a Version Cue version even if an appli cation doesn’t have a Save A Version command. You can manage and use those versions as you would if they were created from files made by Adobe Creative Suite components.

Working with alternates in Bridge

Bridge also makes it easy to work with Version Cue alternates. You can use Bridge to designate files as alternates of each other, or to generate alternates from previous versions of a file. In the Alternates view, you can see the complete group of alternates that have been designated for a project file as well as which of these alternates is the primary (preferred) member of the group. A file’s inclusion in a group of alternates is indicated by an icon in all Bridge views as well as by text indications in the Details and Versions And Alternates views. Alternates don’t have to be located within a single folder, and you can use Bridge to add files to an alternates group no matter where they are located in a project. In Alternates View, it’s easy to navigate to the folders that contain alternates. You can remove files from a group of alternates as well as dissolve the group completely in Bridge.

Viewing Workspace, project, and file information

Because you may not always be connected to the network on which a particular Version Cue Workspace is located, Bridge indicates the availability of the workspaces and projects you’ve accessed by displaying different icons of workspaces and projects. When your Version Cue Workspace is online, you can view up-to-date status for all files you’ve created with Adobe Creative Suite components. This helps you understand whether a file is already in use, or whether another user has created a newer version. Normally, when you start editing a project file in a Version Cue Workspace, the file’s status changes to In Use because you’re making changes to the file. However, you can use Bridge to mark a file In Use without having to open the file. You can cancel the Mark In Use indication at any time. You can also use Mark In Use to prepare project files for offline editing when you know you’ll be disconnected from a remote Version Cue Workspace. When you come back online, you can use

Bridge to synchronize your files with your workspace once the workspace is available again. For more information about working with Version Cue, see “Adobe Version Cue” in Help.

Version Cue Workspace and project icons in Bridge

Bridge displays status icons for Version Cue Workspaces and projects to let you know if they’re available, shared, local, or remote.

•

Available and Not Shared Indicates a project that’s available and not shared with other users.

•

Available and Shared Indicates a project that’s available and shared with other users.

•

Local Files Only Indicates a project that contains only local files.

•

Workspace Not Available Indicates a workspace that’s offline.

•

Workspace On Own Hard Drive Indicates a workspace that’s local to your computer.

•

Remote Workspace Online Indicates a remote workspace that’s available.

Chapter 5: Adobe Stock Photos

Adobe Stock Photos

About Adobe Stock Photos

Welcome to Adobe Stock Photos, the newest way to view, try, and buy royalty-free images from leading stock libraries. With Adobe Stock Photos, you won’t have to interrupt your design process to find quality images. Instead, from inside your favorite applications, you can use the powerful search capabilities of Adobe Stock Photos to find and download images.

From Bridge, the Favorites pane gives you quick access to these stock images. With your computer connected to the

Internet, simply click the Adobe Stock Photos icon to start browsing thousands of available images. Because of the tight integration between Stock Photos and Adobe Creative Suite components, you can download images from

Adobe Stock Photos directly into your Illustrator, InDesign, and GoLive projects. From Photoshop, you can open any downloaded image.

In the design process, you need the flexibility to try different images before deciding which one you want. Adobe

Stock Photos gives you the option to download low-resolution, complementary (comp) versions of images you’re considering. You can work with the comps until you make your final decision, at which point you can purchase and download a high-resolution image.

For maximum convenience, you can open an account with Adobe. The benefit of opening an account is that you enter your personal information only once, greatly simplifying the checkout process. You can also look back at previous purchases, and even download photos again after you purchase them.

See also

“About comp images” on page 74

“Benefits of Stock Photos accounts” on page 77

“Buying stock photos” on page 75

Searching for images in Adobe Stock Photos

There are a few ways to search for images in Stock Photos. If you need help getting a project started, a broad search may yield a fund of possibilities and suggest areas to explore. If you have a clear idea of what you need, then you can use Advanced Search to narrow the field.

Related keywords also help you find photos. After you find photos, you can start a new search by selecting one or more related keywords. Each image is associated with keywords that help you find similar images. The more keywords you select, the narrower the search results.

Photos matching the search criteria appear as thumbnails in the main window. You can resize the thumbnail by dragging the Thumbnail slider at the bottom of the screen. When you click an image in search results, a comp image appears in the Preview pane (it may take several seconds for the image to appear in the pane). To enlarge the comp, simply resize the Preview pane. You can view metadata information about the image in the Metadata pane under

Adobe Stock Photos Metadata.

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Your previous searches are automatically saved in Stock Photos in the Favorites pane. Click Previous Searches to display the list. To see the search results, double-click a search. To delete a search, select it and press the Delete key

(Windows), right-click the search and then choose Send To Recycle Bin (Windows), or Control-click the search and choose Move To Trash (Mac OS).

All thumbnails from recent searches are saved on your computer. Having the thumbnails available offline is helpful if you want to browse through the images when your computer isn’t connected to the Internet. However, the thumb nails do take up some space on your hard drive. At some point, if you want to delete these thumbnails, delete the searches (as described above), or remove them manually from the default file location: My Documents/AdobeStock-

Photos/Previous Searches (Windows), or Documents/AdobeStockPhotos/Previous Searches (Mac OS).

See also

“To adjust the Bridge window” on page 51

“To view file and folder thumbnails in Bridge” on page 54

To search for stock photos

In Bridge, click Adobe Stock Photos in the Favorites pane.

In the text box at the top of the screen, type the word or phrase that describes the subject of the photos you want to search for.

Click the Search button or press Enter.

Images matching the search criteria are displayed in batches. (There is a preference for changing the number of images displayed in a batch.) To view more images, click More Results. Click a photo to view more information, such as its price and keywords associated with it.

See also

“Search tips” on page 73

“To view image price and keywords” on page 73

To use Advanced Search

Advanced Search is a powerful tool that helps you find exactly the right photo. You can combine several search criteria to narrow your results.

In Bridge, click Adobe Stock Photos in the Favorites pane.

Click the Advanced Search button .

Search using any combination of the following options:

•

Type a descriptive keyword or keywords in the text box to find related images. Alternatively, type an image ID, if you know the ID of the photo you want to use.

•

To restrict searches to a specific media type, choose one or more options under Media Types.

•

To search by the orientation of the photo, select the acceptable shapes under Orientation.

•

Select the name of one or more providers to limit the search.

Click the Search button to display images matching the search criteria.

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See also

“Search tips” on page 73

To search with related keywords

In Bridge, click Adobe Stock Photos from the Favorites pane.

In the text box at the top of the screen, type the word or phrase that describes the subject of the photos you want to search for.

In the search results, click a photo to select it.

Do one of the following:

•

Click the Get Price & Keywords button.

•

Right-click the image (Windows) and choose Get Price & Keywords from the menu.

When the Price & Keywords dialog box appears, select keywords under Keywords For This Image. The more keywords you select, the narrower the search.

When you finish selecting keywords, click the Search Again button to begin a new search using the keywords.

To view image price and keywords

You can view size and price information, as well as related keywords, in the Image Detail dialog box.

In the search results window, click an image to select it.

Do one of the following:

•

Click the Get Price & Keywords button.

•

Right-click the image (Windows) and choose Get Price & Keywords from the menu.

To close the dialog box, click the Close button.

Note:

The currency displayed in the Price & Keywords dialog box may not be the native currency of your billing country; it is the supported currency for purchases made from your country. When you purchase photos from Adobe Stock Photos, your credit card will be billed in the supported currency.

Search tips

Here are some helpful pointers for refining your searches:

Misspelled words

Double-check your search entries to make sure they’re spelled correctly.

Trademarked names

Brand names may not return full search results. Instead, search for the item by its general name.

Exact phrase searches

To view images that exactly match a phrase, type the whole phrase in the Search text box. You can enter Boolean operators such AND, OR, or NOT to narrow your search.

Search by subject

To search for a specific subject, use nouns that describe the main subject of a photo, such as

“bicycle” or “house,” as well as adjectives that modify the nouns, such as “vintage” or “red.” To narrow the search further, use verbs that describe an action in the photo.

Search by concept

Try searching with concepts, or perceptions, such as “romance,” “vitality”, “frustration,” or

“excitement,” to find an inspiring image.

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Search by style

To find photos that reflect a specific photographic or artistic technique, try searching on terms such as “profile”, “studio shot,” or “clipping path.”

Comp images

About comp images

Comp images are free, nonwatermarked, low-resolution versions of stock photos that you can download to use in mock-ups or other preliminary work. You can use comps to capture a feeling, idea, or concept before choosing the final image for a project. Comps are not licensed for production, but you can use them in mock-ups or other prelim inary work. Because comps are low-resolution images, they’re not suitable for printing or publishing. After an evalu ation period, you can purchase a high-resolution version of the image to continue working with the photo.

Metadata is bundled with comp images. This metadata is read by Photoshop, InDesign, Illustrator, and GoLive, and is used in each application to recognize images as stock photos, even if you rename them. Metadata allows you to purchase high-resolution versions of images later, even after you move a comp to a project folder or create other versions of the image. If you are about to send the photo to be printed, InDesign and Illustrator display a warning that you are using a comp image.

You can view your downloaded comps by clicking Downloaded Comps in the Favorites pane, or you can navigate to the default folder where comps are saved: My Documents/AdobeStockPhotos (Windows) or Documents/Adobe-

StockPhotos (Mac OS). You can move downloaded comps to any folder you want. To delete a comp in the Stock

Photos window, right-click it and then choose Send To Recycle Bin (Windows) or Control-click it and choose Move

To Trash (Mac OS).

For more information on using comps, see the terms of service (TOS), which describe when and for how long you can use a comp. A Terms Of Service link is available on the main Adobe Stock Photos screen.

To download comps from Adobe Stock Photos

In the search results, click a photo to select it.

Do one of the following:

•

Click the Download Comp button.

•

Right-click the photo (Windows) and select Download Comp from the menu.

•

Click Get Prices & Keywords and select Free Comp Image in the dialog box. Click the icon to download the comp.

To view comps in an Adobe Creative Suite application

From Adobe Stock Photos, you can open and edit a comp in Photoshop, Illustrator, InDesign, or GoLive. You can also drag a comp into an application.

In the search results window, right-click the image you want to open.

In the context menu, position the pointer over Open With, and then choose the name of the application in which you want to view a comp version of the image.

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To view saved comps in Stock Photos

To help you keep track of downloaded comps, you can view them in Bridge. If you decide to purchase a comp, put the comp in your shopping cart.

In the Favorites pane, click Adobe Stock Photos.

Click Downloaded Comps to see the comps.

Buying stock photos

It’s simple to buy images through Adobe Stock Photos. When you find the photos you want to buy, put them in your

shopping cart

. The photos remain in your cart until you’re ready to complete your purchase. When you finish browsing, you can check out and have your images automatically downloaded to your computer.

Having an account with Adobe speeds the checkout process. Because your contact and billing information is saved, you can complete your purchase with just a few clicks.

Adobe Stock Photos maintains a secure site, and you can rest assured that your personal information is kept in strict confidence. Any information you enter is used only for Adobe Stock Photos purposes.

To view your photos, click Purchased Images in the Favorites pane, or navigate to the default Stock Photos folder:

My Documents/AdobeStockPhotos (Windows) or Documents/AdobeStockPhotos (Mac OS).

See also

“To buy photos” on page 75

“To buy photos directly from InDesign or Illustrator” on page 76

To place photos in the shopping cart

As you find photos you want to purchase, add them to the shopping cart until you’re ready to check out.

In the search results window, right-click a photo, and then choose Add To Cart from the context menu. You see a dialog box confirming that the photo is your shopping cart.

Click OK to continue, or click View Shopping Cart to see the contents of your cart.

If you want to disable this dialog box, select Don’t Show Again.

To buy photos

To access your shopping cart, click the Shopping Cart icon.

Choose a resolution for the photos you want to buy. (You can remove an item from the shopping cart at any time by clicking the Delete icon .)

Click Check Out.

Do one of the following:

•

If you have an Adobe account, enter your ID and password.

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•

If you want to open an Adobe account, click Set Up An Account. You are prompted to enter your billing and account information.

•

If you want to buy the images without an account, click Continue As Guest. You are prompted to enter your billing information. Click Continue.

Do one of the following:

•

If you have an Adobe account, confirm your billing information and click Continue.

•

If you don’t have an Adobe account, enter your billing information and click Continue.

In the Order Summary page, confirm your choices. To delete a photo from the shopping cart, click the Delete icon.

If you have a promotion code, enter it in the Promotion Code text box and click Apply. You see any changes made to your order as a result of applying the promotion code.

Click the check box to accept the terms of the Adobe Stock Photos License Agreement (click the blue text to read the agreement).

Finally, click the Purchase Now button to complete the checkout process. Your purchase is processed, then you’re prompted to download your photos.

Click Start Download. After the photos are saved, click View Purchased Images if you want to start working with them right away.

To view the receipt for your purchase, in the Thank You page click View Receipt. You can also monitor the progress of the download by clicking Open Download Status. When you finish, click Find More Images if you want to find new photos, or click Go To Your Account.

If you have been working with a comp version of the image you purchased, you need to replace the comp with the high-resolution image in your art.

Note:

To delete the list of high-resolution images waiting for download from the Download Status screen, choose Edit >

Preferences (Windows) or Bridge > Preferences (Mac OS). Select Adobe Stock Photos, and then click the Clear Now button.

See also

“To create a Stock Photos account” on page 77

“To set Adobe Stock Photos preferences” on page 79

To buy photos directly from InDesign or Illustrator

To seamlessly integrate Adobe Stock Photos into your design process, you can use the Place command to use downloaded comps in your work. When you’re ready to purchase a photo, you can start the process from InDesign or Illustrator. Then, you can use the Links palette to replace the comp with the full image.

In Illustrator or InDesign, right-click a comp image and then choose Purchase This Image from the menu.

Adobe Stock Photos starts, and the photo is automatically placed in your shopping cart.

After purchasing the image, return to Illustrator or InDesign, and then click Re-link in the Links palette.

Navigate to the Purchased Images folder in the Adobe Stock Photos folder: My Documents/AdobeStockPhotos

(Windows), or Documents/AdobeStockPhotos (Mac OS).

Select the purchased image and then click OK. The comp is replaced with the full version of the photo.

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User Guide

To view order details

A benefit of having an Adobe account is that you can go back and view your previous orders.

In Adobe Stock Photos, click the Your Account button

In the Your Account page, click View Order History.

The Your Order History page shows all of your previous orders. To view details about a particular order, click the order number (highlighted in blue).

In the Order Detail page, you can see the billing information, as well as a description of the photos you purchased.

Click Return To Your Account if you’re done, or click Return To Order History if you want to review other orders.

You can also redownload the photos you purchased.

Stock Photos accounts

Benefits of Stock Photos accounts

Creating an Adobe account makes purchasing photos quick and easy. When you log in with your e-mail address and password, you can work with your account in several ways:

Manage your profile

After you complete the registration process, modify your account information anytime by clicking the Your Account link in the navigation bar.

See your order history

Track orders made through Adobe Creative Suite Stock Photos to check the specific items ordered, the total cost of the purchase, or the order date.

Download previously purchased items again

Access your order history and click Re-download to replace a lost or corrupted file for up to one year from the original purchase date.

Shop with ease

Purchase photos without providing profile information. Adobe Stock Photos automatically enters your name and address when you make any purchases. All your personal information is securely stored.

To create a Stock Photos account

In Adobe Stock Photos, do one of the following:

•

Click the Your Account button , and then click the Continue button under Set Up An Account.

•

If you have photos in the shopping cart, click the Shopping Cart icon, and then click Checkout. Click Set Up An

Account.

If you haven’t chosen your billing country, you see a dialog box with a list of countries. Choose the country of your billing address and click Continue.

In the text boxes, type your e-mail address and choose a password (at least six characters long and containing a mix of letters and numbers).

Enter your billing address, and then type your payment information. The billing address must exactly match the address where your credit card statements are mailed.

When you finish, click Continue.

After you create your account, Adobe Stock Photos sends a confirmation e-mail to the address you entered.

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User Guide

To log into your Stock Photos Account

In Adobe Stock Photos, click the Your Account button .

When prompted, type your e-mail address and password, and then click Continue. If your login is successful, the

Your Account page appears.

If you’re having trouble logging into your account, make sure that you have spelled your e-mail address and password correctly. Also make sure that you haven’t pressed the Caps Lock or Number Lock keys.

To edit your Stock Photos account profile

Your account profile includes your name and password settings.

Click the Your Account button .

Log into your account.

In the Your Account page, click Edit Your Profile. Do any of the following:

•

To change your password, type a new word in the Password text box. Passwords can contain only letters and numbers and must be at least six characters long.

•

To sign up to get e-mail from Adobe Stock Photos about promotions or other special information, select the check box.

To confirm your changes, click Save. To go back to the main Your Account page without saving changes, click

Return To Your Account.

To change Stock Photos account address information

You can change your default billing address or add other addresses. Make sure that any new addresses match the address on your credit card billing statements exactly to avoid any problems.

Click the Your Account button .

Log into your account.

In the Your Account page, click Edit Your Address.

Do any of the following:

•

To change the nickname associated with the default address, type a new name in the Billing Address Nickname text box.

•

Type any changes to the default address in the text boxes.

•

To add a new address to your account, click Add New Address, and then enter the information in the text boxes.

•

To edit a non-default address, click Edit under the address, and make any changes.

•

To make an address the default, click Set Default under the address.

•

To delete an address, click Delete under the address.

To confirm your changes, click Save. To go back to the main Your Account page without saving changes, click

Return To Your Account.

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User Guide

To change Stock Photos account payment information

You can change your saved credit card information, or add additional credit cards. Enter your credit card number without spaces or dashes. You can give each credit card a nickname to keep track of which card you’re using.

Click the Your Account button .

Log into your account.

In the Your Account page, click Edit Your Payment Information.

Do any of the following:

•

To change the nickname of the default credit card, type a new name in the Payment Nickname text box.

•

To change the default credit card number, type the new number in the Credit Card Number text box, and then choose the expiration date for the new card from the month and year menus.

•

To add a new card to your account, click Add New Payment Method, and then type a nickname and the card number. Enter the expiration date.

•

To delete a payment method, click Delete under the payment nickname.

To confirm your changes, click Save. To go back to the main Your Account page without saving changes, click

Return To Your Account.

To download previously purchased images from Stock Photos

To download images, you need to have a Stock Photos Account. You can download images onto a different computer than the one you used to purchase the photos originally (see the license agreement for information about restric tions).

Click the Your Account button .

In the Your Account page, click View Order History.

In the Your Order History page, click the order number (highlighted in blue) of the photo you want to download again.

In the Order Detail page, click the arrow under Download. The photo is downloaded. By default, purchased images are located at My Documents/AdobeStockPhotos/PurchasedItems (Windows) or Documents/AdobeStock-

Photos/PurchasedItems (Mac OS).

To set Adobe Stock Photos preferences

In Adobe Bridge, choose Edit > Preferences (Windows) or Bridge > Preferences (Mac OS).

Select Adobe Stock Photos from the list on the left.

Set any of the following preferences, and then click Save:

Thumbnails displayed per group

To set how many thumbnail images are displayed in a search group, choose an option from the Thumbnails Per Search Group menu.

Search language

To search using a different language, select the language from the Search Language menu. Note that you get the best results from most providers if you search in English. This setting doesn’t affect the interface display language.

Destination folder for downloads

To select a new default folder in which to store photos, downloaded comps, and purchased photos, click Change Location. Click Reset to restore the default location.

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User Guide

Billing Country

To change your default billing country, choose the name of the country from the Billing Country menu. The currency displayed next to the Billing Country menu may not be the native currency of that country (not all currencies are supported). Instead, it’s the currency Adobe allows for that country. Your credit card is billed in the supported currency.

Alert messages

To enable or disable the messages that appear when you download a comp or add a photo to your shopping cart, select or deselect Display Message After Downloading Comp or Display Message After Adding Image

To Shopping Cart.

Automatic downloading to default folder

To save your photos automatically to your default folder, select Auto-

Download Images After Purchasing Them. Deselect this option if you want to choose a location in which to save the photos (for example, in a Version Cue project or other project-specific folder on your computer).

Downloading after lost connection

To resume downloading automatically after a connection is lost, select Resume

Interrupted Downloads When Bridge Starts.

Chapter 6: Adobe Version Cue

Using Adobe Version Cue

Version Cue managed projects

Adobe Version Cue® is an innovative set of features designed to increase your productivity when you work alone or collaborate with others. Version Cue integrates design management into your existing workflows within and across

Adobe Creative Suite components, including Adobe Photoshop CS2, Adobe InDesign CS2, Adobe Illustrator CS2,

Adobe GoLive CS2, Adobe Acrobat 7, and Adobe Bridge. You can also work with Version Cue in Adobe InCopy CS2.

Version Cue streamlines the following tasks in Adobe Creative Suite:

•

Creating historical versions and branched alternates of your files.

•

Maintaining file security.

•

Organizing files into private or shared projects.

•

Browsing with file thumbnails, and searching file information and version comments.

•

Reviewing file information, comments, and file status in private and shared projects while you browse.

In addition, you can use the Version Cue Workspace Administration for more advanced tasks:

•

Initiating and managing online reviews of PDF documents.

•

Duplicating, exporting, backing up, and restoring projects.

•

Viewing information about projects in the Version Cue Workspace.

•

Importing files to the Version Cue Workspace using FTP or WebDAV.

•

Deleting file versions in batches and removing file locks.

•

Creating a roster of project users and defining their project privileges.

•

Restricting access to a specific project.

See also

“Availability of Version Cue features” on page 81

Availability of Version Cue features

Different Version Cue features are available in different environments:

•

If you use Adobe Creative Suite, you have access to the full set of Version Cue features, including Version Cue

Administration.

•

If you use only one component of Adobe Creative Suite, or if you use InCopy and not Adobe Creative Suite, you have access to the features of the Adobe dialog box only. You can use Bridge, rather than the Adobe dialog box, for file browsing.

Note:

Acrobat 7 and GoLive access Version Cue features differently than other Adobe Creative Suite components and don’t use the Adobe dialog box.

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User Guide

•

If you don’t have Adobe Creative Suite, you can gain access to the full Version Cue feature set by participating in a shared project; that is, if another user on your network installs Adobe Creative Suite and gives you access to a

Version Cue project in a Version Cue Workspace.

See also

“About the Adobe dialog box” on page 82

“Getting the most out of Version Cue” on page 82

Getting the most out of Version Cue

In Version Cue, you create

projects

that you and other users access through Adobe Creative Suite components.

Projects keep related files together in one place. Version Cue manages the files in these projects. Because Version Cue works in all Adobe Creative Suite components, your design process isn’t interrupted when you work on individual files within a project.

You can use Version Cue in a single application, such as Photoshop CS2, to track changes to a file as you work on it.

In addition, workgroups or an individual worker can use Version Cue across applications. Multiple users can manage projects that contain files from all Adobe Creative Suite components. Projects can include non-Adobe files, such as text documents, billing forms, or spreadsheets. When you keep all managed files related to a project in one place, you eliminate the task of tracking down important files.

Here’s an example of how you might use Version Cue with Adobe Creative Suite: You start by creating a new project and adding a Photoshop file containing the main image for a printed piece. Then, you add art from Illustrator and text from InDesign. Next, you add GoLive web elements to leverage your printed content for use in a web page. As you and your team work on each piece of the project, Version Cue creates

versions

to keep track of changes. When it’s time to present the project, you create a PDF of each project file and use the Version Cue Administration utility to set up an online

PDF review

. Your customers, supervisors, or peer reviewers view and comment on the project using Acrobat.

Working with Version Cue in GoLive

Version Cue is tightly integrated with GoLive to manage the tasks specific to web page creation. Although you access

Version Cue differently in GoLive than in Photoshop, Illustrator, InCopy, and InDesign, most of the same features are available.

Working with Version Cue in Acrobat

You access Version Cue from within Acrobat 7 much as you do in the other Adobe Creative Suite components; however, there are some differences. Most Version Cue features are available in Acrobat 7. For more information on using Version Cue in Acrobat 7, see Acrobat 7 Help.

See also

“Availability of Version Cue features” on page 81

About the Adobe dialog box

In Adobe Creative Suite 2.0 components (except for GoLive and Acrobat 7) and InCopy CS2, you can use the Adobe dialog box when you choose the Open, Import, Export, Place, Save, or Save As commands, even if you don’t use

Version Cue. The Adobe dialog box displays additional information, including thumbnails, which make it easy to identify files. You can use the Adobe dialog box when working with both Adobe and non-Adobe files.

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User Guide

Note:

In InDesign, if you deselect Always Save Preview Images With Documents in either the File Handling preferences or the Save As dialog box, you won’t see thumbnails for InDesign files in the Adobe dialog box or in Bridge.

By default, when you choose the Open, Import, Export, Place, Save, or Save As commands, the operating system

(OS) dialog box appears. To use the Adobe dialog box instead and set it as the default, click Use Adobe Dialog. Use the View menu options to customize the display. You can change back to the OS dialog box at any time by clicking

Use OS Dialog.

A B C

The Adobe Dialog Box

Favorites panel

Project Tools menu

View menu

You can use the Adobe dialog box to accomplish these tasks:

•

Add frequently used files and folders to the Favorites panel for quick access.

•

View thumbnail images of files.

•

Determine whether a file is open in another Adobe Creative Suite application on your computer.

•

Rename or delete files (Mac OS only).

•

Connect to Bridge by using the Reveal In Bridge command.

•

View metadata about files in the Properties panel. Metadata includes author, keyword, and copyright information.

•

Access Version Cue projects and files as well as non-Version Cue files.

•

View detailed information about Version Cue projects, such as the status of individual files.

•

View and work with Version Cue versions and alternates.

•

Search for files in a Version Cue project.

•

Move Version Cue files to the Project Trash.

•

Determine which Version Cue files are in use, and who is using them.

•

Create a new Version Cue project, or connect to an existing Version Cue project.

See also

“To view Version Cue Workspace, project, and file information” on page 89

“Availability of Version Cue features” on page 81

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User Guide

What’s new in Version Cue CS2

In addition to enhanced performance and reliability, here are some key new features in Version Cue CS2:

Integration with Adobe Bridge

View Version Cue projects, work with versions, and make groups of alternates, all from one central place. From Bridge, you can search for and view all Version Cue files without opening individual

Adobe Creative Suite components. You can manipulate files directly in Bridge to avoid delays as files open or as the components start up.

Alternates

Alternates allow you to leverage an asset and take your designs in a different direction. For example, if you want to radically transform a photo that is currently used in a project, but you don’t want to alter the original, you can create an alternate and work with it instead. Use alternates, in addition to versions, to manage your assets.

See “About Version Cue alternates” on page 115.

Version Cue PDF Review

Host online PDF reviews from your own computer or another Version Cue Workspace. You can include in the review any PDF file in the project, and use the Automatic e-mail generation to quickly invite users to the review. Review comments are collected in the Version Cue Workspace where all reviewers can see and reference them as the review progresses.

Ability to manage non-Adobe files

Store non-Adobe files, such as text documents, schedule spreadsheets, and billing forms, in a Version Cue project. You can also create versions of non-Adobe files. See “To save a version of a non-Adobe file” on page 111.

See also

“Initiating a Version Cue PDF review” on page 139

“Availability of Version Cue features” on page 81

“Working with Version Cue in Bridge” on page 69

To set Version Cue Workspace preferences

Note:

You can perform this task only if you have access to the full Version Cue feature set, which is available in Adobe

Creative Suite or in a shared workspace. See “Availability of Version Cue features” on page 81 for more information.

Use Version Cue preferences to turn Version Cue off (it is on by default), specify Version Cue Workspace settings, choose the locations of Version Cue folders that hold data and backup files, export projects in your workspace, and check for updates to Version Cue.

Do one of the following to access Version Cue CS2 preferences:

•

In Windows, double-click the Version Cue icon in the system tray at the bottom right of the screen.

•

In Mac OS, click the Version Cue icon in the menu bar at the top of the screen and choose Version Cue CS2

Preferences from the menu.

Choose an option from the Version Cue CS2 menu. Choose On to turn on the Version Cue Workspace, or Off to turn the workspace off.

To automatically turn on Version Cue when the computer starts (recommended), select Turn Version Cue CS2

On When The Computer Starts.

Choose one of the following from the Workspace Access menu:

This Workspace Is Visible To Others

Gives others access to your shared Version Cue projects.

This Workspace Is Private

Keeps your Version Cue Workspace hidden from other users.

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User Guide

Note:

If Version Cue is installed on a computer that uses a firewall and you want to share the workspace with others, make sure that TCP ports 3703 and 427 are left open and deselect the Internet Connection Firewall option (Windows only). For information, see Windows Help.

In the Settings tab, do any of the following:

•

From the Workgroup Size menu, choose the number of people who use the Version Cue Workspace on a typical day. This setting controls how the workspace handles the potential load.

•

From the Optimize For menu, choose the type of project you generally create. By default, this option is set to

Mixed Media, to support workflows that involve both print media (such as InDesign files) and web content

(created in GoLive). If you typically produce only print media, or if you create only web content, choose either

Print Media or Web Media from the Optimize menu.

•

In the Memory Usage text box, enter the amount of RAM that you want to make available to Version Cue. The default is 128 MB. This setting allocates RAM to optimize interoperability between Version Cue and Adobe

Creative Suite components. For more robust requirements, such a larger workgroup or many assets, set the RAM to 256 MB or higher.

Select Show Version Cue CS2 Tray Icon (Windows) or Show Version Cue CS2 Status In Menu Bar (Mac OS) to keep the Version Cue menu icon visible, giving you quick access to Version Cue Administration and preferences.

Click the Locations tab and do one of the following:

•

To move the Data folder, where projects, file versions, and user IDs are stored, click the Choose button next to the current folder location. Select a new location (not a network drive) for the folder. You must choose a location on the computer in which the Version Cue Workspace is installed. Click OK.

•

To move the Backup folder, where project backups are stored, click the Choose button next to the current folder location. Select a new location for the folder. You must choose a location on the computer in which the Version

Cue Workspace is installed. Click OK.

Important:

The workspace must be turned off before you change the folder locations. Do not attempt to move these folders manually or edit any of the files in the Version Cue Data folder. The Data folder contains files that maintain the integrity of the Version Cue file versions, metadata, and project information.

To export workspace data, click the Export tab, choose an export version and a location for the exported data, and then click Export.

Click the Updates tab, and then click Check For Updates to see whether any updates are available online. If so, you’re prompted to install the updates.

Click OK (Windows) or Apply Now (Mac OS).

If prompted, click Yes (Windows) or Restart (Mac OS) to restart the Version Cue Workspace. (If Version Cue was running when you changed the settings, you are prompted to restart.)

See also

“To export a Version Cue project to your computer” on page 131

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User Guide

To turn Version Cue on or off

By default, access to Version Cue is turned on in InCopy CS2 and in all Adobe Creative Suite components, except for

Acrobat 7. If you disable Version Cue, you won’t have access to any Version Cue Workspace, which could affect files in a project. If you disable or enable Version Cue in any Adobe Creative Suite component, that change affects all other

Adobe Creative Suite components except Acrobat 7 (you must always enable or disable Version Cue manually in

Acrobat 7), Bridge, and GoLive (Version Cue is always enabled in Bridge and GoLive), and the Version Cue

Workspace (this is controlled through the Version Cue CS 2 preferences).

Photoshop CS2

Choose Edit > Preferences > File Handling (Windows) or Photoshop > Preferences > File Handling

(Mac OS). Then select or deselect Enable Version Cue Workgroup File Management, and click OK.

Illustrator CS2

Choose Edit > Preferences > File Handling & Clipboard (Windows) or Illustrator > Preferences >

File Handling & Clipboard (Mac OS). Then select or deselect Enable Version Cue, and click OK.

InDesign CS2

Choose Edit > Preferences > File Handling (Windows) or InDesign > Preferences > File Handling

(Mac OS). Then select or deselect Enable Version Cue, and click OK.

InCopy CS2

Choose Edit > Preferences > File Handling (Windows) or InCopy > Preferences > File Handling

(Mac OS). Then select or deselect Enable Version Cue, and click OK.

Acrobat 7

You must manually turn Version Cue on in Acrobat 7 to use it. Choose Edit > Preferences > General

(Windows) or Acrobat > Preferences > General (Mac OS). Then select or deselect Enable Version Cue Workgroup

File Management.

Bridge

Version Cue is always turned on in Bridge.

GoLive

Version Cue is always turned on in GoLive.

See also

“Availability of Version Cue features” on page 81

Working with Version Cue projects

About Version Cue projects

Version Cue uses

projects

to store related files and folders. If you work independently, you create a project to gather all the files you need, view the files in Bridge, and use Version Cue features such as versions and alternates. In a workgroup, depending on your workflow, you can create one Version Cue project for files that everyone in your workgroup collaborates on, a different project for files that don’t require collaboration, and yet another project restricted to specific users.

When you first open a Version Cue project, Version Cue creates a folder named “Version Cue” in your My

Documents (Windows) or Documents (Mac OS) folder, and adds a folder for the project to it. When you open a file from that project, Version Cue adds a

working copy

of the file to the project folder. As you edit and save intermediate changes to your file, you are actually editing in the working copy; the original file on the Version Cue Workspace is protected.

After you open a Version Cue project, a shortcut to that project appears in the list with other Version Cue

Workspaces in Bridge, or in the Open, Place, or Save dialog boxes. Remote Version Cue Workspaces also appear in this list after you access them.

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User Guide

Version Cue uses a special folder for each project: the

documents

folder. This folder is where Version Cue stores non-

GoLive files for each project. When you access the project from Bridge, InCopy, or any Adobe Creative Suite component except Acrobat 7, Version Cue automatically opens the documents folder and temporarily displays the project title as the folder name. (If you access the project using Acrobat 7, the folder is named “documents”.) You’ll also see the documents folder if you open the working copies folder.

If you create a new Version Cue project from GoLive, or if you add a new or existing website to a project, Version

Cue creates three additional folders for that project:

Web-content folder

Contains the home page (index.html) as well as any website content, including pages, images, styles, and scripts. You can create separate Pages, Images, and Styles subfolders if necessary. Any files or folders uploaded to a production server should be stored in the web-content folder. Because GoLive uses this folder to manage a site as it’s created, be careful not to store other types of files in this folder. You can create any type and number of subfolders in the web-content folder.

Web-data folder

Stores different types of reusable site objects, such as Smart Objects, components, and templates.

This folder contains data used to create the final site. To avoid broken links, missing styles, and similar problems, never store final website content in the web-data folder.

Web-settings folder

Stores only the saved settings in the GoLive Site Window and Site Settings dialog boxes.

Viewing a Version Cue project in Bridge

See also

“To connect to a remote project” on page 88

“Using working copies” on page 94

“Availability of Version Cue features” on page 81

To open a project

Note:

You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative

Suite or in a shared workspace. See “Availability of Version Cue features” on page 81 for more information.

Do one of the following:

•

In Illustrator, InCopy, InDesign, or Photoshop choose File > Open. If the button is visible, click Use Adobe Dialog

(if you see the Use OS Dialog button, you are already using the Adobe dialog box). Click Version Cue in the

Favorites panel.

•

In Bridge, click Version Cue in the Favorites panel. Double-click Workspaces to view all available workspaces.

•

In Acrobat 7, choose File > Open. Click Version Cue.

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User Guide

To open a Version Cue Workspace, double-click it.

Note:

If you don’t see a desired Version Cue Workspace, choose Refresh from the Tools menu.

To open a project, double-click it.

If the Use Adobe Dialog button doesn’t appear in the Open, Save As, Save A Copy, or Place dialog boxes, make sure that you’ve turned on the Version Cue preference in InCopy or in the Adobe Creative Suite component you’re using.

See also

“About the Adobe dialog box” on page 82

“To connect to a remote project” on page 88

“Adding files and folders to a project” on page 99

“To set Version Cue Workspace preferences” on page 84

To connect to a remote project

Note:

You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative

Suite or in a shared workspace. See “Availability of Version Cue features” on page 81 for more information.

When you need to work on Version Cue projects that are located remotely, on a different subnet, you can use the IP address of the computer to access that Version Cue Workspace. Workspaces on computers within your subnet should be visible automatically.

Do one of the following:

•

In Illustrator, InCopy, InDesign, or Photoshop, choose File > Open. If you are using the OS Dialog box, click Use

Adobe Dialog. Click Version Cue in the Favorites panel. Choose Connect To from the Project Tools menu .

•

In Bridge, choose Tools > Version Cue > Connect To.

•

In Acrobat, choose File > Open. Click Version Cue. Choose Connect To from the Project Tools menu.

In the Connect To dialog box, enter the Version Cue Client URL (the Version Cue IP or DNS address), a colon, and the port number (3703), for example, http://153.32.235.230:3703. If you have connected to the workspace before, it’s not necessary to enter the port number.

You can display the Version Cue Workspace Administration utility login page to identify the Version Cue Client

URLs that remote users and WebDAV applications need to access the workspace.

Click OK. After you connect to a remote Version Cue Workspace, the dialog box displays all available Version Cue projects in that workspace.

A shortcut to the remote workspace is automatically included in your list of available Version Cue Workspaces.

See also

“About the Adobe dialog box” on page 82

“To log into Version Cue Administration from an Adobe Creative Suite component” on page 124

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User Guide

To connect to a project using WebDAV

The Version Cue Workspace can communicate with applications that are WebDAV enabled. When Version Cue is running on a server, you can use it as a WebDAV server. However, Version Cue's native versioning features are more sophisticated than those available through WebDAV. WebDAV capabilities are provided for legacy workflows.

❖

Refer to your application’s documentation for information on using its WebDAV features, and then use the

Version Cue WebDAV Client URL, the port number (3703), “webdav”, and the project name to identify the project you want to work with, for example, http://153.32.235.230:3703/webdav/

project_name

See also

“Availability of Version Cue features” on page 81

To view Version Cue Workspace, project, and file information

Note:

You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative

Suite or in a shared workspace. See “Availability of Version Cue features” on page 81 for more information.

For help on viewing information in Acrobat 7, see Acrobat Help.

In Illustrator, InCopy, InDesign, or Photoshop, choose File > Open.

If the button is available, click Use Adobe Dialog (if you see the Use OS Dialog button instead, you are already using the Adobe dialog box).

Click Version Cue in the Favorites panel.

You can resize the Favorites panel to display items with long names: place your cursor over the vertical line to the right of the Favorites panel and drag it to the right.

To change the display of Version Cue Workspaces, projects, or files in the dialog box, do any of the following:

•

To view the properties of a file, click the toggle to display the Properties panel.

•

To change the display of project, choose a display option from the View menu .

•

To sort items in a column, while in detail view, click the column heading. Click the column heading again to reverse the order.

•

To show or hide columns of information while in list view, right-click (Windows) or Control-click (Mac OS) the

Name column heading, and choose Show All, Hide All, or a column name. (The Name column can’t be hidden.)

Visible columns have a check mark to the left of the column name.

•

To change the location of a column, drag the column heading to the left or right of another column heading

(Windows), or press Command+Option and drag the column heading to the left or right of another column heading (Mac OS). The Name column can’t be moved.

•

To resize a column of information, drag the vertical dividing line between column headings or double-click the line to automatically resize the column to fit the widest item in it.

To display information about a file, project, or Version Cue Workspace, do one of the following:

•

Place the pointer over the item. A summary of file information appears in a tool tip.

•

Right-click (Windows) or Control-click (Mac OS) the file and choose Versions (to display information about a file’s versions) or Alternates (to display information about a file’s alternates).

Note:

If you’ve already opened the file in an Adobe Creative Suite component, file status information appears at the bottom of the file’s window.

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See also

“About the Adobe dialog box” on page 82

“Version Cue file statuses” on page 96

To view Version Cue Workspace, project, and file information in Bridge

Note:

You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative

Suite or in a shared workspace. See “Availability of Version Cue features” on page 81 for more information.

In Bridge, you can choose between two display views: Versions And Alternates View and Details View. Use the

Versions And Alternates View to view thumbnails of files along with thumbnails of Version Cue alternates and versions. Use the Details View to view thumbnails as well as information about the number of versions or alternates, enhanced status information, and the current version comment.

Start Bridge, and then click Version Cue in the Favorites panel.

Click the Version Cue Workspace, project, or file to view its information, or place the pointer over the item to display a summary of information in a tool tip.

See also

“To view file and folder thumbnails in Bridge” on page 54

“The Bridge work area” on page 48

“Version Cue file statuses” on page 96

“About Version Cue versions” on page 110

“About Version Cue alternates” on page 115

Creating and editing projects

To begin using Version Cue, you need to create a Version Cue project. When you work with Version Cue, you decide what a project entails. For example, you can create a project to organize files for an entire publishing effort, or you can create a project to manage files for specific aspects of an advertising campaign. You can use a project to organize assets related to a particular customer or use a project to separate private files from files that are worked on collab oratively. You can add files to projects at any time by using Bridge, InCopy, or any Adobe Creative Suite component.

When you create a Version Cue project, you specify a project name, the Version Cue Workspace that hosts the project, and a project description. You specify whether to share the project or keep it private. Shared projects are available to other users; however, you can password-protect shared projects to restrict access to specific users. You can create private projects on a workspace installed on your computer. If you create a project on a computer that is used as a server, it must be shared to be accessible.

You can create projects by using Bridge, InCopy, any Adobe Creative Suite component, or the Version Cue Admin istration utility. The Version Cue Administration utility provides options for specifying advanced project properties.

You create new Version Cue projects with it by importing a folder of files. These files are used as the project starting point.

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The Project Tools menu contains frequently used commands

See also

“To create a project” on page 91

“To edit Version Cue project properties” on page 130

“To create a new Version Cue project from a folder” on page 128

“To share or unshare a project” on page 93

“To share or unshare a project from Bridge” on page 94

“Availability of Version Cue features” on page 81

To create a project

Note:

You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative

Suite or in a shared workspace. See “Availability of Version Cue features” on page 81 for more information.

For information on creating a project in Acrobat 7, see Acrobat Help.

In Illustrator, InCopy, InDesign, or Photoshop, choose File > Open. Click Use Adobe Dialog if you’re using the

OS dialog box.

Click Version Cue in the Favorites panel.

Choose New Project from the Project Tools menu .

Choose a location for the project from the Location menu.

Enter a name for the project in the Project Name box and a description in the Project Info box. (The description you enter appears as a tool tip when the pointer is over the project in the list of workspaces.)

To make this project and its files available to others, select Share This Project With Others. (If the Version Cue

Workspace is on a computer other than your own, the Version Cue project is shared by default.)

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Click OK.

See also

“About the Adobe dialog box” on page 82

To create a project in Bridge

Note:

You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative

Suite or in a shared workspace. See “Availability of Version Cue features” on page 81 for more information.

Start Bridge, and then click Version Cue in the Favorites panel.

Choose Tools > Version Cue > New Project.

Choose a location for the project from the Location menu.

Enter a name for the project in the Project Name box and a description in the Project Info box. The description you enter appears as a tool tip when the pointer is over the project in the list of workspaces.

To make this project and its files available to others, select Share This Project With Others. (If the Version Cue

Workspace is on a computer being used as a server, the Version Cue project is shared by default.)

Click OK. The project opens automatically. No Items To Display appears in the Content Area until you add files to the project.

See also

“To add a file or folder to a project in Bridge” on page 99

To edit the properties of a project

Note:

You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative

Suite or in a shared workspace. See “Availability of Version Cue features” on page 81 for more information.

Do one of the following:

•

In Illustrator, InCopy, InDesign, or Photoshop, choose File > Open. Click Use Adobe Dialog if you’re using the OS dialog box. Double-click the host Version Cue Workspace. Select the project, and then choose Edit Properties from the Project Tools menu.

•

In Bridge, select the project and then choose Tools > Version Cue > Edit Properties.

•

In Acrobat 7, choose File > Open. Click Version Cue. Select the project, and then choose Edit Properties from the

Project Tools menu.

In the Edit Properties dialog box, do any of the following, and click Save:

•

To change the project name, enter a name in the Project Name text box. The new name will not be reflected on your (or your workgroup’s) working copies project folder until you disconnect from and reconnect to the project.

•

To change the description of the project, enter text in the Project Info box.

•

To make this project and its files available to other users, select Share This Project With Others. (If the Version

Cue Workspace is on a computer being used as a server, the Version Cue project is shared by default.) To unshare a shared project, deselect Share This Project With Others. Note, however, that this action does not delete any working copies currently in project folders on the workgroup’s computers.

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•

To view the location of working copies on your computer, expand Local Project Files. To open the folder, choose

Show Files (Windows) or Show Files in Finder (Mac OS). To change the location of the files, click Change

Location and choose the new location for working copies.

Note:

Make sure that you use the Change Location feature to relocate working copies, rather than moving the project folder manually in the file system.

•

Click Advanced Administration to enable lock protection, edit or assign users, or require users to log into the project. When prompted, log into Version Cue Administration. Depending on your privileges, this option may not be available.

Click Cancel to close the Open dialog box (Version Cue saves your settings even though you clicked Cancel).

See also

“Disconnecting from projects” on page 105

“Deleting files and folders” on page 106

“To log into Version Cue Administration from an Adobe Creative Suite component” on page 124

To share or unshare a project

Note:

You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative

Suite or in a shared workspace. See “Availability of Version Cue features” on page 81 for more information.

At any time, you can change a project’s shared status. Projects on a Version Cue Workspace that other users can access are shared by default and can’t be made private. Note that unsharing a project does not delete any working copies currently in the working copies project folders of your workgroup.

Note:

If the Version Cue Workspace is installed on a computer that uses a firewall and you want to share the workspace with others, make sure that TCP ports 3703 and 427 are left open. If you’re using a Windows machine, deselect the

Internet Connection Firewall option. (For information on the Internet Connection Firewall option, see Windows Help.)

Do one of the following:

•

In Illustrator, InCopy, InDesign, or Photoshop, choose File > Open. Click Use Adobe Dialog if you’re using the OS

Open dialog box.

•

In Acrobat 7, choose File > Open.

Click Version Cue in the Favorites panel, and then double-click the host Version Cue Workspace.

Select the project, and then do one of the following:

•

To share the project, choose Share Project from the Project Tools menu .

•

To unshare the project, choose Unshare Project from the Project Tools menu.

•

Choose Edit Properties from the Project Tools menu. Select or deselect Share This Project With Others, and click

Save. After you edit the project properties, click Cancel to close the Open dialog box (your settings are saved even though you clicked Cancel).

See also

“About the Adobe dialog box” on page 82

“To view Version Cue Workspace, project, and file information” on page 89

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To share or unshare a project from Bridge

Note:

You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative

Suite or in a shared workspace. See “Availability of Version Cue features” on page 81 for more information.

At any time, you can make a project shared or unshared. You can keep a Version Cue project unshared only if it is on your own computer. Projects that you create on a Version Cue Workspace that is not located on your own computer are shared by default and can't be made private. Note that unsharing a project does not delete any working copies that others may already have in the working copies project folder on their own computer.

Start Bridge, and then click Version Cue in the Favorites panel.

Double-click Workspaces.

Right-click (Windows) or Ctrl-click (Mac OS) the project and choose either Share Project or Unshare Project from the menu.

You can also choose Edit > Properties, and then select or deselect Share This Project With Others, and click Save.

See also

“To view Version Cue Workspace, project, and file information in Bridge” on page 90

Working with files in Version Cue

Using working copies

Version Cue projects and files reside in the Version Cue Workspace on the host computer. The master copies of files added to the project, including file versions and other file data, such as comments, version dates, and user IDs, are saved on this host computer. When you work in files from a Version Cue project, you’re editing a

working

copy of the master file on your computer, not the master file on the Version Cue Workspace, which remains protected and untouched.

As you work, use the Save command to save changes periodically. This command does not create a new version of the master file but updates your working copy. A new version is created only when you choose the Save A Version command. This command first updates the working copy, and then adds a new version to the master file on the

Version Cue Workspace. When the working copy of a file matches (is the same version as) the current version in the workspace, the file is

synchronized

Using working copies of master files, several people can work with the most recent version of a master file. For example, if two people need access to the same illustration during overlapping periods of time, Version Cue lets each person work with a working copy of the most recent file version. The second person to access the illustration is informed that the file is already in use. At that time, the second person can decide whether to continue working with the file. Working copies give everyone flexible access to project files and allow work to proceed concurrently when necessary.

Note:

Two users can’t edit a file simultaneously in InCopy.

Working copies allow you to work on a file even when the host workspace is unavailable, or offline. Though some features, such as versions and alternates, can’t be used when you’re working offline, you can edit files and save your work. When the workspace is online again, you can save a version to update the master file.

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There are times when you may wish to delete the working copies of your project files. For example, you may want to free up space on your hard drive, or are completely finished working on the project. Version Cue lets you delete your working copies of project files by disconnecting from the project. Disconnecting from a project deletes the working copies project folder on your hard drive. You can do this at any time if none of the working copies are In Use by you.

If you accidentally disconnect from a project, new working copies are recreated the next time you access the project files. If a project is deleted from either the host workspace or your local computer, you can use working copies to recreate the project with the most current versions of the files.

To relocate working copies of a project, edit the project’s properties and use the Change Location feature. For instruc tions, see “To edit the properties of a project” on page 92.

Note:

Make sure that you use the Change Location feature to relocate working copies, rather than moving the project folder manually in the file system.

See also

“Creating and editing projects” on page 90

“To create a project” on page 91

“Disconnecting from projects” on page 105

“Deleting files and folders” on page 106

“Editing and synchronizing offline files” on page 119

“To restore a file or folder deleted from a project” on page 109

“Version Cue file statuses” on page 96

“Availability of Version Cue features” on page 81

File protection in Version Cue

Version Cue automatically informs others that a file is being edited. Version Cue assigns In Use status to a file when you open and edit a file that isn’t being edited by another user. When you save a version, Version Cue removes the file’s In Use status.

Note:

In InCopy, you must choose File > Checkin after saving a version to remove the file’s In Use status.

At times two people may need to work with a file simultaneously. For example, User A may begin editing a file but be called away before saving a version. If User B works on the file while User A is away, Version Cue ensures that the two files don’t overwrite each other in the project. User A’s working copy won’t reflect the changes made by User B, and vice versa. When finished with the file, both users can save a new version of the file to the Version Cue

Workspace. Version Cue alerts all current users of the file about the presence of a new version in the Version Cue

Workspace and gives them the option of downloading the latest version or continuing their current edits. Alterna tively, users can save their edits as an alternate.(Version Cue alerts users who have the file open or who re-open a file that was previously closed while In Use.)

Note:

Two users can’t edit a file simultaneously in InCopy.

You can use the Version Cue Workspace Administration utility to assign lock protection to a Version Cue project.

Only the first user to begin editing an available file in a lock-protected project can save the next version of that file to the Version Cue project. Other users who edit that file simultaneously can’t save changes to a new version of that file, even after the first user saves a version. These other users must save the changes as completely new files with their own version thread; however, they can designate their file as an alternate of the original file.

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The ability to access a file in a lock-protected project provides the flexibility to create proofs or experiment with the design, for example, and then close the file without saving changes.

See also

“Using working copies” on page 94

“Availability of Version Cue features” on page 81

Version Cue file statuses

Files that are managed by Version Cue are always marked with a status icon that describes the state of the file on the

Version Cue Workspace. You can view a file’s status while browsing the files in a Version Cue project, in Bridge, and also in the document window’s Status area after opening a file from the Version Cue Workspace in an Adobe Creative

Suite component. In Acrobat, the status is displayed in the title bar. A file can have more than one status at the same time (in some cases only one status is shown).

Each file status has a corresponding icon:

Open

The file is open on your computer. This status lets you make informed decisions about whether it’s appro priate, for example, to place a file into a layout while the file is still being edited. The Open status is indicated only for files on your computer.

In Use By Me

You are editing the file. Version Cue assigns this status to a file when you make an edit to the file that changes its content.You can manually mark a file in use before you edit it to indicate to others that you intend to make changes to the content.

Synchronized

The latest known version of the file is available for editing and you have a working copy of it on your computer. Version Cue assigns this status when you save a version of the file you’re editing, or when you manually synchronize a project.

No Working Copy

No local copy of the file exists. This status indicates that it will take a few moments to create a working copy before you can edit the file.

In Use By <user name>

Another user is editing the file and has not yet saved a new version.

Conflicted Copies

There is a version conflict, or both you and another user are editing the file.

Only Copy

The file in the working copies folder is the only copy known to Version Cue and has not been synchronized with the Version Cue Workspace. This scenario can occur when a file has been saved in an existing project for the first time while the workspace is offline. Because the workspace is offline, Version Cue displays the

Offline Copy status until the workspace is back online, and then changes the status to Only Copy. Version Cue also displays this status if you drag a file from one folder into the working copies folder using the file system instead of

Bridge (not recommended). You can edit the file, but it’s important to synchronize (upload the file to the workspace) after you save your changes.

Offline Copy

There is a local copy of the file in your working copies folder, but the Version Cue Workspace is offline. There is no way of checking whether the local copy is synchronized with the latest version on the workspace.

You can edit an offline copy and save these changes; however, you must save a version or synchronize the file once the workspace comes back online.

Outdated Copy

A local copy exists, but there is a newer version of the file in the workspace. This status indicates that it will take a few moments to create an up-to-date working copy before you can edit the file.

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Unavailable

The Version Cue Workspace is offline or you don’t have access privileges. There is no way of checking the status of the local copy with the workspace. You can edit the local copy and save these changes; however, you must save a version or synchronize the file once the workspace comes back online.

Deleted

The file or folder has been deleted from the project, but not yet permanently erased. (You can restore a deleted file or folder).

See also

“Using working copies” on page 94

“To synchronize files” on page 121

“To edit a file in use by another user” on page 98

“Deleting files and folders” on page 106

“Availability of Version Cue features” on page 81

To open a file from a project

Note:

You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative

Suite or in a shared workspace. See “Availability of Version Cue features” on page 81 for more information.

After you add or save a file to a Version Cue project, the file is automatically managed by Version Cue. Managed files can’t be overwritten. If you open a file that’s in use by another user or that has been previously edited and saved as a new version, you are prompted to edit the most recent version.

Do one of the following:

•

In Illustrator, InCopy, InDesign, or Photoshop, choose File > Open. Click Use Adobe Dialog if you’re using the OS dialog box, and then click Version Cue in the Favorites panel.

•

In Acrobat 7, choose File > Open, and then click Version Cue in the dialog box that appears.

•

In Bridge, click Version Cue in the Favorites panel.

Double-click the host Version Cue Workspace.

Double-click the project that contains the file you want to open.

Select the file and click Open.

See also

“To edit a file in use by another user” on page 98

“To update a file with the most recent version” on page 98

“About the Adobe dialog box” on page 82

“To search for files in a project” on page 104

To reveal a file in Bridge

❖

Right-click (Windows) or Ctrl-click (Mac OS) the file in the Open dialog box in InCopy or an Adobe Creative

Suite component, and choose Reveal In Bridge.

The file appears in the Bridge window.

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To edit a file in use by another user

Note:

You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative

Suite or in a shared workspace. See “Availability of Version Cue features” on page 81 for more information.

If you don't notice that a file's status is In Use when you open it, Version Cue displays an In Use By alert to remind you that someone else is already editing a working copy of the file.

Note:

In InCopy, you can’t edit a file that’s in use by another user.

Open the file, and click one of the following options when the In Use By alert appears:

No, Close Document

Closes the file without any alterations.

Yes, Keep Open

Keeps the file open so you can work on the document.

If you continue working with the document and make a change to the content, Version Cue displays an alert to remind you that there is the possibility of creating conflicting copies. Click one of the following:

Discard Changes

Displays the most recent version of the file from the Version Cue Workspace and discards your changes to the working copy.

Continue Editing

Lets you edit the working copy without overwriting the changes made in another user’s working copy of the same file (Version Cue will prompt each user to save a new version of the file).

If the project doesn’t have lock protection applied to it, you can save a new version of your edits. Version Cue displays an alert warning you that conflicting edits will occur if you continue. Click one of the following:

Cancel

Returns you to the open document without saving a version.

Save Version Anyway

Updates the master file in the Version Cue Workspace with the new version. (Version Cue displays an alert to the other user to note that a newer version of the file has been created by you.)

At any point, you can close the document and discard any changes you’ve made.

See also

“To update a file with the most recent version” on page 98

To update a file with the most recent version

Note:

You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative

Suite or in a shared workspace. See “Availability of Version Cue features” on page 81 for more information.

If another user creates a new version of a file that you have open or that is still marked In Use By Me, Version Cue prompts you to update your document with the latest version when you open it or attempt to make changes to it, or when you bring the document window frontmost in a group of documents.

❖

When the prompt appears, click one of the following:

Discard Changes

Updates the document with the most recent version from the Version Cue project. You can continue editing the file after it is updated. You lose any changes you’ve made even if you have already saved those changes to the working copy with a Save command.

Continue Editing

Leaves the document as is. You can continue editing the file without overwriting the changes in the more recent version. Instead, you’re prompted to either save a new version of the file when you close it, or to discard your changes.

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See also

“To edit a file in use by another user” on page 98

Adding files and folders to a project

To save versions of a file and take advantage of Version Cue file management, you must add or save the file to a

Version Cue project. You can add assets such as swatch libraries to projects to share them with your workgroup. You can also add non-Adobe files to Version Cue projects You can add files using any of the following methods:

•

Add files one at a time from within InCopy or in Adobe Creative Suite.

•

Drag one or more files or folders to a Version Cue project using Bridge. Use this method to copy files from one

Version Cue project to another.

•

Drag files and folders from open windows on your computer's desktop to a Version Cue project displayed in a

Bridge window.

•

Place files directly in the project’s working copies folder, and then synchronize the project to add the files. For more information, see “About Version Cue projects” on page 86.

See also

“To create a new Version Cue project from a folder” on page 128

“Availability of Version Cue features” on page 81

To add a file to a project

Note:

You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative

Suite or in a shared workspace. See “Availability of Version Cue features” on page 81 for more information.

For information on adding a file to a project in Acrobat 7, see Acrobat Help.

Open the file in Illustrator, InCopy, InDesign, or Photoshop.

Choose File > Save As. Click Use Adobe Dialog if you’re using the OS dialog box.

Double-click the host Version Cue Workspace.

Double-click the project to open it.

Enter a comment for the first version in the Version Comments box, and click Save.

See also

“About the Adobe dialog box” on page 82

To add a file or folder to a project in Bridge

Note:

You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative

Suite or in a shared workspace. See “Availability of Version Cue features” on page 81 for more information.

Start Bridge. In Folders (in the Favorites panel), navigate to the folder in the Version Cue project to which you want to add files.

Navigate to the folder that contains the files or folders you want to add to the project.

Select one or more files or folders, and drag them to the Version Cue folder icon you navigated to in step 1.

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Note:

To copy (not move) the files to a project, hold down Ctrl (Windows) or Option (Mac OS) as you drag the files to the project.

See also

“The Bridge work area” on page 48

To add a file or folder from a desktop folder to a project in Bridge

Note:

You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative

Suite or in a shared workspace. See “Availability of Version Cue features” on page 81 for more information.

Start Bridge, and click Version Cue in the Favorites panel.

Double-click Workspaces.

Double-click the Version Cue project and browse to the folder to which you want to add files.

Select files and folders in the open folder on your desktop.

Drag these items from the open folder to the Bridge content area displaying the Version Cue folder to which you want to add files.

Note:

To copy (not move) the files to a project, hold down Ctrl (Windows) or Option (Mac OS) as you drag the files to the project.

See also

“The Bridge work area” on page 48

To add files to a project folder without Bridge

Note:

You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative

Suite or in a shared workspace. See “Availability of Version Cue features” on page 81 for more information.

It’s best to add files using Bridge, but you can add files by dragging them into the documents folder of a Version Cue project.

Do one of the following:

•

Locate the project folder inside the My Documents/Version Cue (Windows) or Documents/Version Cue

(Mac OS) folder on your computer.

•

If the project folder isn’t already in the My Documents/Version Cue (Windows) or Documents/Version Cue

(Mac OS) folder on your hard disk, create a new folder inside the Version Cue folder. Give the folder the same name as the existing Version Cue project on the Version Cue Workspace. Inside the new project folder, create a new folder and name it

documents

Note:

These steps work only if the project already exists. You cannot create a new project using this method.

Move or copy the items you want to add to the documents folder.

In Illustrator, InCopy, InDesign, Photoshop, or Acrobat, choose File > Open. Click Use Adobe Dialog if you’re using the OS dialog box.

Click Version Cue in the Favorites panel. Open the Version Cue Workspace, and select the project.

Choose Synchronize from the Project Tools menu . (Alternatively, you can select the project in Bridge and synchronize it.) Once the synchronization is complete, the files are added to the project.

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See also

“Editing and synchronizing offline files” on page 119

“About the Adobe dialog box” on page 82

“About Version Cue projects” on page 86

To copy or move files between projects or from a project to a desktop folder

❖

Do one of the following:

•

To copy a file between projects, start Bridge and navigate to the project folder that contains the file you want to copy. Choose File > New Window to open a new Bridge window, and navigate to the project folder to which you want to add the file. Drag the file from the first project folder to the destination project folder in the second Bridge window.

•

To copy a file from a project to a desktop folder, drag it from the project folder in Bridge to the desktop folder.

Note:

When you copy a file between projects or from a project to a desktop folder, Version Cue copies only the most current version.

•

To move a file between projects, copy it from one project folder to another in Bridge, and then permanently delete the file from the first project folder. For instructions on permanently deleting files, see “To delete files or folders from a project” on page 108 and “To delete a file or folder permanently” on page 109.

•

To move a file from a project to a desktop folder, drag it from the project folder in Bridge to the desktop folder, and then permanently delete the file from the first project folder. For instructions on permanently deleting files, see “To delete files or folders from a project” on page 108 and “To delete a file or folder permanently” on page 109.

To save changes to a file

Note:

You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative

Suite or in a shared workspace. See “Availability of Version Cue features” on page 81 for more information.

If you want to save changes, but aren't ready to save a new version as you edit a file you have opened from a Version

Cue project, you can use the File > Save command to save your changes to the working copy on your computer. Until you save a new version to the shared Version Cue Workspace, these changes won’t be available to any other user. You can also close the file once you save changes to a file, and then reopen it and save a version later.

❖

To save changes to your working copy, choose File > Save.

To place a file from a project into a document

Note:

You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative

Suite or in a shared workspace. See “Availability of Version Cue features” on page 81 for more information.

While you’re working with a Version Cue project in Illustrator, InCopy, InDesign, or Photoshop, you can add a file to a document just as you normally would—by using the Place command. The Links palette (in Illustrator, InCopy, and InDesign) displays additional information about placed files from Version Cue projects, identifying whether a linked file is being edited, which user is doing the editing, whether it is a member of a group of alternates, and if so, whether it is the primary (preferred) alternate. You can also use the Links palette to determine whether the linked file needs to be updated to a newer version from the Version Cue Workspace.

In Illustrator, InCopy, InDesign, or Photoshop, choose File > Place.

Click Version Cue in the Favorites panel.

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Double-click the host Version Cue Workspace.

Double-click the project containing the file you want to place.

Select the file, and click Place.

For complete information on placing files into documents in Adobe Creative Suite, see the specific application’s Help.

Note:

When you place a file from a Version Cue project, a copy of that file is placed in your My Documents/Version Cue

(Windows) or Documents/Version Cue (Mac OS) folder of working copies for that project. As a result, you can edit that file offline, while it’s disconnected from the Version Cue Workspace.

See also

“Using the Links palette with project files” on page 102

“About Version Cue alternates” on page 115

To place a non-Version Cue file into a document

Note:

You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative

Suite or in a shared workspace. See “Availability of Version Cue features” on page 81 for more information.

With the document open in Illustrator, InCopy, InDesign, or Photoshop, navigate to the file you want to place.

Select the file, and click Place (Illustrator) or Open.

For complete information on placing files into documents in Adobe Creative Suite, see the specific application’s Help.

You should always add assets to a Version Cue project before placing them in a Version Cue-managed file. When you place a non-Version-Cue managed file into a managed file, you cannot keep track of the placed asset's versions, alternates, or status.

Using the Links palette with project files

When Version Cue is enabled in Illustrator, InCopy, or InDesign, the Links palette identifies who is editing a linked file from a Version Cue project. It also displays a linked file’s versions and alternates so that you can promote and use previous versions, update the document with the linked file’s alternates; you can even create versions of linked non-

Adobe files.

The Links palette, including the File Status column, functions the same with Version Cue-managed files as it does with non-Version Cue-managed files. For example, if a newer version of a linked file is on the Version Cue

Workspace, the Modified Artwork icon appears; if a file is missing, the Missing Artwork icon appears. To update a linked file from a Version Cue project, you use the same procedures used for files that aren’t managed by

Version Cue.

The Version Cue Edit Status column in the Links palette displays nothing if the linked file is available, or it displays a status icon.

See Illustrator Help, InCopy Help, or InDesign Help for more information about working with the Links palette and placed files.

See also

“Availability of Version Cue features” on page 81

“To view alternates and versions in the Links palette” on page 103

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“To replace a placed file with an alternate” on page 103

“To replace a placed file with a previous version” on page 104

“To replace a placed file with an alternate derived from a previous version” on page 103

To view alternates and versions in the Links palette

Note:

You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative

Suite or in a shared workspace. See “Availability of Version Cue features” on page 81 for more information.

When Version Cue is enabled in Illustrator, InCopy, or InDesign, you can view versions and alternates of a placed file from the Links palette.

❖

Do one of the following:

•

To view versions of a placed file, choose Versions from the Links palette menu.

•

To view alternates of a placed file, choose Alternates from the Links palette menu.

See also

“Using the Links palette with project files” on page 102

“To replace a placed file with an alternate” on page 103

“To replace a placed file with a previous version” on page 104

“To replace a placed file with an alternate derived from a previous version” on page 103

To replace a placed file with an alternate

In Illustrator, InCopy, or InDesign, select the file in the Links palette.

Choose Alternates from the Links palette menu.

Choose an alternate, and click Relink.

See also

“Using the Links palette with project files” on page 102

“To view alternates and versions in the Links palette” on page 103

“To replace a placed file with a previous version” on page 104

“To replace a placed file with an alternate derived from a previous version” on page 103

To replace a placed file with an alternate derived from a previous version

In Illustrator, InCopy, or InDesign, select the file in the Links palette.

Click Edit Original and edit the file in its native application.

Choose File > Save As, and select Save As Alternate (rename the file if you save it in the original folder).

Close the file.

In Illustrator, InCopy, or InDesign, select the placed file in the Links palette.

Choose Alternates from the Links palette menu.

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Select the Alternate you created in step 3, and click Relink.

See also

“Using the Links palette with project files” on page 102

“To view alternates and versions in the Links palette” on page 103

“To replace a placed file with an alternate” on page 103

“To replace a placed file with a previous version” on page 104

To replace a placed file with a previous version

In Illustrator, InCopy, or InDesign, select the file in the Links palette.

Choose Versions from the Links palette menu.

Select a version and click Promote To Current. Enter a version comment if desired, and click Save.

See also

“Using the Links palette with project files” on page 102

“To view alternates and versions in the Links palette” on page 103

“To replace a placed file with an alternate” on page 103

“To replace a placed file with an alternate derived from a previous version” on page 103

To search for files in a project

Note:

You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative

Suite or in a shared workspace. See “Availability of Version Cue features” on page 81 for more information.

Metadata is automatically added to Version Cue project files as you work with them. In addition, you can manually add other information to files in Adobe Creative Suite through the File Info dialog box. You can quickly locate files in a Version Cue project by searching for specific information such as titles, authors, copyright data, keywords, dates, and locations. The search feature searches through existing files, as well as files deleted from projects. For infor mation on searching in Acrobat 7, see Acrobat Help. You can also search for Version Cue project files in Bridge, both by version comment and past versions.

In Illustrator, InCopy, InDesign, or Photoshop, choose File > Open.

If the button is visible, click Use Adobe Dialog (if you see the Use OS Dialog button instead, you are already using the Adobe dialog box).

Click Version Cue in the Favorites panel.

Double-click the host Version Cue Workspace.

Double-click the project you want to search.

Click Project Search .

Enter information in Project Search.

If you open an older version of a file found as the result of a search, the file name will be prefaced with Version <X> -.

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Note:

It is best to treat older versions as view-only when opened as the result of a search. Although you can edit an older version in its native application, do so only if you intend for this version to become a separate asset or to be used as an alternate. To edit a previous version, first promote it to the new, current version, and then make changes.

See also

“About the Adobe dialog box” on page 82

“Version Cue file statuses” on page 96

“To search for files and folders with Bridge” on page 60

“Viewing and comparing versions” on page 112

“To view a previous version in its native application” on page 113

Disconnecting from projects

Disconnecting

from a project erases the working copies of files on your computer while leaving the master copies on the Version Cue Workspace intact. Disconnecting also removes shortcuts to the project from Bridge and the Adobe dialog box. You may want to disconnect to free up more space on your hard drive. Or, you might disconnect from a project if someone else in your workgroup deletes a project from the Version Cue Workspace (your working copies are not touched by that deletion).

As long as you have saved a version of the working copies there is no harm in discarding them by disconnecting.

When you access the project again, new working copies will be created for the current versions of the files you open.

If you have working copies with the In Use By Me status, you will not be permitted to disconnect from a project until you have saved a version of those files.

When you disconnect from a project, only the working copies and shortcuts on your computer are erased. Leaving the project intact on the workspace allows others, as well as yourself, to access the master files. When you delete a project, all working copies and shortcuts on your own computer, along with the master copies of files and folders in the Version Cue Workspace, are erased. However, any working copies and shortcuts on other computers your co workers or you previously used to access the project are not erased. To completely remove the project and erase those working copies and shortcuts, you must select the shortcut or project folder and disconnect, even though the project has already been deleted.

You can disconnect from a Version Cue project by using Bridge, Photoshop CS2, Illustrator CS2, InCopy CS2, or

InDesign CS2. GoLive CS2 uses a different method for deleting working copies of site files. Disconnect is not available in Acrobat 7.

See also

“Deleting files and folders” on page 106

“To disconnect from a project in Bridge” on page 106

“To disconnect from a project” on page 106

“Using working copies” on page 94

“Availability of Version Cue features” on page 81

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To disconnect from a project

Note:

You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative

Suite or in a shared workspace. See “Availability of Version Cue features” on page 81 for more information.

Disconnecting from a project removes the files from your computer but doesn’t delete the project from the host

Version Cue Workspace. Disconnect is not available in Acrobat 7.

In Illustrator, InCopy, InDesign, or Photoshop, choose File > Open. Click Use Adobe Dialog if you’re using the

OS dialog box.

Click Version Cue in the Favorites panel.

Open the Version Cue Workspace and select the project from which you want to disconnect.

Choose Disconnect from the Project tools menu.

Note:

You can select any project icon or shortcut to the project when you want to disconnect.

To disconnect from a project in Bridge

Note:

You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative

Suite or in a shared workspace. See “Availability of Version Cue features” on page 81 for more information.

Disconnecting from a project removes working copies of the project files from your computer but doesn’t delete the project from the host Version Cue Workspace.

Start Bridge, and click Version Cue in the Favorites panel.

Double-click Workspaces, and navigate to the project from which you want to disconnect.

Right-click (Windows) or Ctrl-click (Mac OS) the project, and then choose Disconnect from the menu.

Note:

You can select any project icon or shortcut to the project when you want to disconnect.

Deleting files, folders, and projects

Deleting files and folders

Deleting

a file or folder from Version Cue is a two-step process that safeguards against accidental deletions. The first step is deleting the file or folder and giving it the Deleted status. Deleting hides the file or folder from normal view but does not erase it. The second step is permanently deleting and erasing the file or folder and its previous versions.

When you delete a folder, the folder and all folders and files nested inside it are hidden and given a Deleted status.

When you permanently delete a folder, its entire contents are erased.

Any user with appropriate privileges can delete files and folders unless the files or folders are marked In Use. In a workgroup, if a user is editing a file that you need to delete, you can reset the file’s lock by using the Version Cue

Administration utility.

You can restore files or folders that have a Deleted status. Restoring reinstates Version Cue management. Restored files and folders appear in their previous location in the project folder hierarchy. (Deleted files and folders maintain their relationship within the project hierarchy until they are permanently deleted.)

In Bridge, InCopy, and in Adobe Creative Suite, you can show hidden and deleted files or folders, and view them in search results. Additionally, Version Cue has a Project Trash view from which you can view all deleted files in a project. Use Project Trash to view and handle all deleted files without navigating through the project folder hierarchy.

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You can delete individual files or folders in Bridge, InCopy, or any Adobe Creative Suite component.

See also

“Using working copies” on page 94

“To delete a project in Bridge” on page 108

“To disconnect from a project in Bridge” on page 106

“To delete a Version Cue project in the Version Cue Administration utility” on page 130

“Availability of Version Cue features” on page 81

Deleting projects

Deleting a project from Version Cue permanently erases all of its master files (including versions and alternates) and folders from the Version Cue Workspace. This is a one-step process (with confirmation). Deleting a project automat ically deletes the working copies of files on your computer as well as any shortcuts to that project. However, the working copies of files created on other users’ computers are not deleted until they disconnect from the deleted project. You cannot restore deleted projects directly in Version Cue, nor can you delete a project if any user has files that are marked In Use.You can delete an entire Version Cue project in Bridge, InCopy, or any Adobe Creative Suite component. You can also delete projects by using the Version Cue Administration utility, if you have privileges to do so.

To delete a project

Note:

You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative

Suite or in a shared workspace. See “Availability of Version Cue features” on page 81 for more information.

For information about deleting a project from Acrobat 7, see Acrobat Help.

In Illustrator, InCopy, InDesign, or Photoshop, choose File > Open. Click Use Adobe Dialog if you’re using the

OS dialog box.

Click Version Cue in the Favorites panel.

Do one of the following:

•

Double-click the host Version Cue Workspace and select the project.

•

Click the project shortcut.

Choose Delete from the Project Tools menu.

Click OK in the confirmation dialog box.

You can also delete projects using the Version Cue Administration utility.

See also

“To delete a Version Cue project in the Version Cue Administration utility” on page 130

“To disconnect from a project” on page 106

“About the Adobe dialog box” on page 82

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To delete a project in Bridge

Note:

You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative

Suite or in a shared workspace. See “Availability of Version Cue features” on page 81 for more information.

Start Bridge, and then click Version Cue in the Favorites panel.

Double-click Workspaces.

Right-click the project or the project shortcut, and then choose Delete Project from the menu.

Click OK to confirm the deletion.

To remove working copies of the files from the deleted project, you need to disconnect from the project.

See also

“To disconnect from a project in Bridge” on page 106

“To delete a project” on page 107

To delete files or folders from a project

Note:

You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative

Suite or in a shared workspace. See “Availability of Version Cue features” on page 81 for more information.

Once you delete a file or folder from a project, you can then choose to permanently delete it or restore it with its original data, including file versions and related information. For information about deleting files or folders from

Acrobat 7, see Acrobat Help.

In Illustrator, InCopy, InDesign, or Photoshop, choose File > Open. Click Use Adobe Dialog if you’re using the

OS dialog box.

Click Version Cue in the Favorites panel.

Double-click the host Version Cue Workspace.

Double-click the project that contains the file or folder you want to delete.

Select the file or folder you want to delete.

Do one of the following:

•

Choose Delete from the Project Tools menu

•

Drag the file to the Project Trash .

Note:

If Show Deleted files is not selected in the Project Tools menu, the file will become hidden and removed from view.

If Show Deleted Files is selected, the file or folder will remain visible with the status Deleted.

See also

“To view Version Cue Workspace, project, and file information” on page 89

To delete files from a project in Bridge

Note:

You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative

Suite or in a shared workspace. See “Availability of Version Cue features” on page 81 for more information.

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Once you delete a file from a project, you can then choose to permanently delete it or restore it with its original data, including file versions and related information.

In Bridge, click Version Cue in the Favorites panel, then double-click Workspaces.

Double-click the host Version Cue Workspace.

Double-click the project that contains the file you want to delete.

Select the file and click the Delete Item icon in the toolbar.

Note:

If Show Hidden and Deleted files is not selected in the View menu, the file will become hidden and removed from view. If Show Hidden and Deleted Files is selected, the file will remain visible with the status Deleted.

See also

“To view Version Cue Workspace, project, and file information” on page 89

To restore a file or folder deleted from a project

Note:

You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative

Suite or in a shared workspace. See “Availability of Version Cue features” on page 81 for more information.

For information on restoring files or folders in Acrobat 7, see Acrobat Help.

In Illustrator, InCopy, InDesign, or Photoshop, choose File > Open. Click Use Adobe Dialog if you’re using the

OS dialog box.

Click Version Cue in the Favorites panel.

Double-click the host Version Cue Workspace.

Double-click the project that contains the file or folder you want to restore and do one of the following:

•

Click Project Trash in the Favorites panel, select the file you want to restore, and choose Restore from the Project

Tools menu .

•

Choose Show Deleted Items from the Project Tools menu (deleted file and folder names appear in gray in the dialog box). Select the file or folder you want to restore, and choose Restore from the Project Tools menu.

Choose Refresh from the Project Tools menu to update the dialog box.

The file or folder is restored to its original location in the Version Cue project.

Note:

To restore a file in a previously deleted folder, you must first restore the folder. Doing so restores the folder and all its contents.

To delete a file or folder permanently

Note:

You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative

Suite or in a shared workspace. See “Availability of Version Cue features” on page 81 for more information.

You can permanently delete and erase files or folders that have a Deleted status. For information about deleting a file or folder permanently in Acrobat 7, see Acrobat Help.

In Illustrator, InCopy, InDesign, or Photoshop, choose File > Open. Click Use Adobe Dialog if you’re using the

OS dialog box.

Click Version Cue in the Favorites panel.

Open the Version Cue Workspace and project that contains the file or folder you want to delete permanently.

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Choose Show Deleted Items from the Project tools menu.

Select the file or folder you want to permanently delete, and choose Delete Permanent from the Project Tools menu.

Click OK.

To delete a file permanently in Bridge

Note:

You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative

Suite or in a shared workspace. See “Availability of Version Cue features” on page 81 for more information.

You can permanently delete and erase files that have a Deleted status.

Start Bridge. In the Favorites panel, click Version Cue.

Double-click Workspaces, then double-click the project that contains the file you want to delete permanently.

Right-click (Windows) or Control-click (Mac OS) the file, and choose Delete Permanent.

Click OK to confirm the deletion.

Version Cue versions

About Version Cue versions

Versions provide a convenient method of retaining work that was performed in different stages. At any point in your design process, you can save a version of the file, which Version Cue saves and tracks. Each version is a snapshot of the file. You can use versions to review ideas or changes with team members or a client before selecting a final version, or to recover from destructive changes.

Version Cue prevents users from overwriting each other’s work. With this protection capability, multiple users can work on a file simultaneously. When more than one user is working on a file, Version cue alerts them all when one user saves a new version, allowing everyone to update the file and work in the latest version.

Note:

Two users cannot edit a file simultaneously in InCopy.

You don’t have to save a version every time you save your changes. Using the File > Save command works the same way in Version Cue-managed files as in non-Version Cue files. You need only save a version when you want to create a snapshot of the file. For example, if you change the background color or some text in the layout, and then save a version, you can go back to the previous version without damaging your file. Instead of choosing File > Save As and saving a new copy of a design, you save a version, which allows you to track changes as they occur.

If you want to continue your work using a previous version instead of the current version, promote the previous version to the next current version (do this instead of opening the previous version directly). This process keeps the previous version intact, should you decide to return to it again in the future. If you want a previous version, along with the current version, to be available for use in a project, you can save the previous version as a separate asset.

When you do this, you can then make the previous version a member of a group of alternates, if desired.

You can view previous versions in their native applications. When you no longer need to keep previous versions of files, you can delete them individually or in batches.

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See also

“Viewing and comparing versions” on page 112

“To save a version of a non-Adobe file” on page 111

“About the Metadata panel in Bridge” on page 64

“Availability of Version Cue features” on page 81

To save a version

Note:

You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative

Suite or in a shared workspace. See “Availability of Version Cue features” on page 81 for more information.

To save a new version of a file, you use the Save A Version command, which saves your changes to the Version Cue

Workspace. Versions of a file can be subsequently compared using thumbnails, and viewed, deleted, or promoted using the Versions command.

Do one of the following:

•

In Photoshop, Illustrator, InCopy, InDesign, or Acrobat 7, choose File > Save A Version.

•

In Bridge, choose Tools > Version Cue > Save A Version.

In the Save A Version dialog box, enter comments you want to associate with this version.

Click Save.

To save a version of a non-Adobe file

Note:

You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative

Suite or in a shared workspace. See “Availability of Version Cue features” on page 81 for more information.

Bridge opens files in their native applications so that you can make changes. You can save versions of non-Adobe files only if (1) the files are in a Version Cue project and (2) the files have been opened through Bridge. After you create versions with this procedure, you can access them from the Versions dialog box in Adobe Creative Suite components, from InCopy, and from the Versions View of Bridge.

Start Bridge.

In the Favorites panel, click Version Cue, and then navigate to the project containing the file you want to save as a version.

Double-click the file to open it.

When the file opens in its native application, make your changes, and save and close the file.

In Bridge, choose Tools > Version Cue > Save A Version.

In the Save A Version dialog box, enter comments you want to associate with the version, and then click Continue.

Note:

You can save versions of nonembedded graphics, image, and text files in InCopy, InDesign, and Illustrator by using the Edit Original command in the Links palette. After editing the file, save it in its native application. Then, in the Links palette, select the file and use the Save Link Version command to save a version in the Version Cue project. For more information, see InCopy Help, InDesign Help, or Illustrator Help.

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Viewing and comparing versions

Versions are always available for you to view and compare. Each version is treated as a separate file, which you can access through the Versions dialog box in all Adobe Creative Suite components and in InCopy. The Versions dialog box displays thumbnails of all file versions alongside comments, dates, and the login name of the user who created the version. Each version is numbered sequentially. You can view any version at any time. You can also

promote

a version, that is, make a previous version the current one. You can also delete versions if they are irrelevant or if you need to save disk space. When you delete older versions, the version numbers of the remaining versions remain the same.

The Versions And Alternates view in Bridge displays versions of all the files in a project. This view is useful for comparing versions, because all the versions are available in one place for you to view or promote—you don’t need to search your hard drive for saved files. When you want to compare details of versions, you can choose to view each version in its native application.

The commenting features of Version Cue maintain a descriptive history of files. Each time you save or promote a version, you can describe what changes you made. This history helps you track changes made at different stages.

Also, your version comments are searchable; you can search for a particular word to find a version quickly.

Viewing versions in Bridge

See also

“To view file and folder thumbnails in Bridge” on page 54

“Availability of Version Cue features” on page 81

To view versions

Note:

You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative

Suite or in a shared workspace. See “Availability of Version Cue features” on page 81 for more information.

After opening a file from a Version Cue Workspace, you can quickly access the previous version thumbnails, version comments, and version dates by using the Versions dialog box.

In Illustrator, InCopy, InDesign, or Photoshop, choose File > Open. Click Use Adobe Dialog if you’re using the

OS dialog box.

Click Version Cue in the Favorites panel.

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Double-click the host Version Cue Workspace. Double-click the project to open it.

Click the name of the file whose versions you want to view.

Choose Versions from the Project Tools menu .

In the Versions dialog box, do any of the following:

•

To create a new file version from an older version, select the version and click Promote To Current Version.

•

To open an earlier version in its own window and view details only or create a separate asset from the earlier version, click View Version. The version number appears in the file's title bar to remind you that you shouldn’t edit it.

•

To delete a version, select the version and click Delete.

In Acrobat 7, you can view the Versions dialog box by choosing File > Versions when a Version Cue-managed PDF file is open.

You can view versions of a file while it’s open in an Adobe Creative Suite component: Choose Versions from the status menu at the bottom of the file window.

See also

“About the Adobe dialog box” on page 82

“About Version Cue versions” on page 110

To view versions in Bridge

Note:

You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative

Suite or in a shared workspace. See “Availability of Version Cue features” on page 81 for more information.

In Bridge, you can use the Versions And Alternates view to see all versions of all files in a project.

Start Bridge, and then select Version Cue in the Favorites panel.

Choose View > As Versions And Alternates, or click the Versions And Alternates View icon (located at the lower right corner).

Click the Versions View button in the upper right corner of the window.

Double-click a project to view the files.

You can also see previous versions of a file while in other Bridge views. Right-click (Windows) or Ctrl-click (Mac OS) any file in a Version Cue project and choose Versions.

To view a previous version in its native application

Note:

You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative

Suite or in a shared workspace. See “Availability of Version Cue features” on page 81 for more information.

❖

Do one of the following:

•

In the Versions dialog box, click the version you want to open and click View.

Note:

The version number appears in the file’s title bar to remind you that it is not the current version and you shouldn’t edit the file.The file status is Never Saved, because the previous version is only a snapshot of a previous stage of a file.

•

In Bridge, use the Versions And Alternates view, click the Versions View button in the upper-right corner of the window, right-click (Windows) or Control-click (Mac OS) a version, and choose View from the menu.

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Version Cue opens the previous version in its own window. You can then edit the previous version and save it as a new asset or as an alternate. If you edit the previous version, your changes won’t be reflected in the current version unless you promote the earlier version.

See also

“To view versions in Bridge” on page 113

To promote a version

Note:

You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative

Suite or in a shared workspace. See “Availability of Version Cue features” on page 81 for more information.

Promoting a previous version automatically saves a copy of that previous version as the current version. Any changes made between its creation and promotion don’t appear in the new current version.

Do one of the following:

•

In the Versions dialog box, select the version you want to promote, and click Promote To Current Version.

•

In Bridge, using the Versions and Alternates view, click the Versions View button in the upper right corner of the window, right-click (Windows) or Control-click (Mac OS) a version, and then choose Promote To Current

Version from the menu. If you have a working copy of the file, the status of the file changes to Outdated Copy until you open the file or synchronize.

Type a version comment in the Save A Version dialog box. Then click Continue to complete the promotion.

To revert to the last version in Bridge

Note:

You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative

Suite or in a shared workspace. See “Availability of Version Cue features” on page 81 for more information.

❖

In Bridge, choose Tools > Version Cue > Revert To Last Version.

See also

“To delete file versions in a project” on page 132

“To edit Version Cue project properties” on page 130

To delete a version

Note:

You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative

Suite or in a shared workspace. See “Availability of Version Cue features” on page 81 for more information.

❖

Do one of the following:

•

In the Versions dialog box, click the version you want to delete and click Delete. To delete multiple versions, Shiftclick (Windows) or Control-click (Mac OS) the versions and click Delete. When prompted, confirm the deletion.

•

In Bridge, use the Versions And Alternates view, click the Versions View button in the upper right corner of the window, Right-click (Windows) or Control-click (Mac OS) the version, and then choose Delete from the menu.

Note that the remaining versions are not renumbered.

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Using the Version Cue Administration utility, you can delete multiple previous versions of all files in a project simul taneously if you have access privileges. By using this method, you can retain past versions by date or by number of versions to keep.

See also

“To delete file versions in a project” on page 132

“To edit Version Cue project properties” on page 130

“About the Version Cue Administration utility” on page 122

Version Cue alternates

About Version Cue alternates

Version Cue makes it easy to manage variations of a design through the use of

alternates

. For example, you can create alternates for variations of a design based on different versions or completely different photos for different editions of a publication.

You can use alternates in several ways. For instance, if you make extensive changes to a file, it may make more sense to save it as an alternate than a version. When you use alternates, your original file remains untouched and you’re free to continue your design work in a new direction. You can also create alternates for art you’re planning to use in different media, for example, a high-resolution alternate for print and a lower-resolution alternate for web use. Or, you can make alternates from files with totally different content. For example, suppose you are creating an article about fruit production. You might use a photo of an orange for the California edition, a photo of a banana for the

Florida edition, and a photo of an apple for the Washington edition. You can save each photo as an alternate.

You can access alternates from Bridge or directly from the Links palette in InCopy, InDesign, or Illustrator, making it easy to present a variety of design ideas to clients and creative directors. Version Cue protects alternates the same way as other assets. When you save an alternate, it appears as a separate file in its project, but Version Cue maintains a relationship between the original file and any alternates you create.

Version Cue maintains relationships between alternates by creating

alternates groups

, which you can view together in the Alternates dialog box. You can manually group files into an alternates group by using the Make Alternates command. You create alternates from files in different folders by dragging them between Bridge windows. Using this method you can add files from additional folders to the group as well. Thus, an alternates group can contain multiple files from multiple folders. You can make an alternate the primary, or preferred, alternate in a group. The primary alternate is designated by a special status icon, and its name is in bold in the Alternates View. In the Alternates dialog box that appears in Adobe Creative Suite components and in InCopy (in the Links palette or Open dialog box), the primary alternate appears at the top of the list in the Alternates dialog box.

You can change the primary alternate and remove alternates from the group by using Bridge or the Alternates dialog box in Adobe Creative Suite components or in InCopy.

Note:

Although you can create many alternates groups, a given file can be included in only one of these groups. Also, alternates must be located within a single project. Alternates are not available in Acrobat 7.

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Viewing alternates in Bridge

See also

“Availability of Version Cue features” on page 81

To save an alternate

Note:

You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative

Suite or in a shared workspace. See “Availability of Version Cue features” on page 81 for more information.

If you have a file open and want to create your current work as an alternate to the previous versions, you must use the Save As command.

Choose File > Save As.

In the Save As dialog box, select the Save As Alternate option at the bottom of the dialog box.

Click Save, and do one of the following:

•

If you want to keep the same file name, save the alternates to a different folder.

•

If you want to save the alternate in the same folder, change the file name.

The alternate is saved in the project file.

Note:

If you don’t change the folder or file name, Version Cue prompts you to create a new version of the file (not an alternate).

To view alternates from Bridge

Note:

You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative

Suite or in a shared workspace. See “Availability of Version Cue features” on page 81 for more information.

To quickly see which files have alternates, use the Versions And Alternates view in Bridge. This view includes thumb nails of each alternate, shows the number of alternates, and indicates which alternate is the primary alternate in the group. From this view, you can make changes to the alternates groups.

Start Bridge, and then select Version Cue in the Favorites panel.

Click the Versions And Alternates View icon. Then click Alternates View at the top of the screen.

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Double-click a project to view alternates. To reveal an alternate’s location, right-click (Windows) or Control-click

(Mac OS) the alternate and choose Show File In Browser.

A file’s inclusion in a group of alternates is indicated by the Alternates icon and status information that displays how many alternates are associated with the file and whether the file is the primary alternate .

You can also see alternates of a file while in other Bridge views. Right-click (Windows) or Ctrl-click (Mac OS) any file in a Version Cue project Select and choose Alternates.

To view alternates

Note:

You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative

Suite or in a shared workspace. See “Availability of Version Cue features” on page 81 for more information.

You can identify files with alternates in the Open, Place, Save, Import, and Export dialog boxes by looking in the

Alternates column, where the number of alternates is displayed. Alternates aren’t available in Acrobat 7.

In Illustrator, InCopy, InDesign, or Photoshop, choose File > Open. Click Use Adobe Dialog if you’re using the

OS dialog box.

Click Version Cue in the Favorites panel.

Double-click the host Version Cue Workspace and the project containing the alternates.

Click the file for the alternates you want to view.

Choose Alternates from the Project Tools menu .

Note:

You can also view alternates from the Links palette in Illustrator or InDesign, or from the status menu at the bottom of a file window while the file is open in an Adobe Creative Suite component. To view alternates from the Links palette, choose Alternates from the Links palette menu. To view alternates while a file is open in an Adobe Creative Suite component, choose Alternates from the menu at the bottom of the file’s window.

To make an alternate the primary

Note:

You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative

Suite or in a shared workspace. See “Availability of Version Cue features” on page 81 for more information.

❖

Do one of the following:

•

In Bridge, click the Versions And Alternates View icon, and then click Alternates View at the top of the screen.

Right-click (Windows) or Control-click (Mac OS) an alternate, and then choose Make Primary Alternate from the menu.

•

In the Alternates dialog box, select the alternate and then click Make Primary Alternate. Click Done to close the dialog box. (To learn how to access the Alternates dialog box, see “To view alternates” on page 117.)

•

In the Open, Save, Place, Import, and Export dialog boxes, right-click (Windows) or Ctrl-click (Mac OS) a file in a Version Cue project and choose Make Primary Alternate.

See also

“To view alternates from Bridge” on page 116

“To view alternates” on page 117

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To remove an alternate

Note:

You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative

Suite or in a shared workspace. See “Availability of Version Cue features” on page 81 for more information.

❖

Do one of the following:

•

In Bridge, click the Versions And Alternates View icon, and then click Alternates View at the top of the screen.

Right-click (Windows) or Control-click (Mac OS) an alternate from the group on the right side of the window, and then choose Remove From Alternates Group.

•

In the Alternates dialog box, select the alternate, and then click Remove. Click Done to close the dialog box. (To learn how to access the Alternates dialog box, see “To view alternates” on page 117.)

•

In Open, Save, Place, Import and Export dialog boxes, right-click (Windows) or Ctrl-click (Mac OS) a file in a

Version Cue project and choose Remove Alternate.

See also

“To view alternates from Bridge” on page 116

“To view alternates” on page 117

To use the Make Alternates command

Note:

You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative

Suite or in a shared workspace. See “Availability of Version Cue features” on page 81 for more information.

When you use the Make Alternates command, you can make different files alternates of each other in an alternates group. You can select multiple files from more than one folder to make alternates.

In Illustrator, InCopy, InDesign, or Photoshop choose File > Open.

Navigate to the project containing the files you want to make alternates.

Shift-click or Control-click to select the files you want to make alternates. To view files in more than one folder, click the triangle to the left of the folder name.

Right-click (Windows) or Control-click (Mac OS) one of the selected files, and then choose Make Alternates from the menu.

Note:

Although it is possible to reveal files in different projects by using the disclosure triangles, only files within a single project can be made alternates of each other.

See also

“To view alternates from Bridge” on page 116

“To view alternates” on page 117

To make alternates in Bridge

Note:

You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative

Suite or in a shared workspace. See “Availability of Version Cue features” on page 81 for more information.

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When you make alternates in Bridge, you can make different files alternates of each other in an alternates group.

Alternates are not available in Acrobat 7.

❖

To make alternates in Bridge, do one of the following:

•

To make alternates from files in one folder in Bridge, navigate to the project containing the files you want to make alternates. In the Bridge window, Shift-click or Control-click to select the files you want to make alternates and choose Tools > Version Cue > Make Alternates.

•

To make alternates from files in multiple folders in Bridge, navigate to the project containing the files you want to make alternates, and click Alternates View in the upper right corner of the Bridge window. (If Alternates View doesn’t appear, click Versions and Alternates View in the lower right corner of the window.) Choose File > New

Window, and navigate to a different folder in the same Version Cue project. Shift-click or Control-click to select the files you want to make alternates, and drag them to the right of the larger thumbnail showing the file being viewed in the Alternates view of the first Bridge window.

•

To make alternates from a past version of a file in Bridge, navigate to the project containing the file you want to make an alternate. Right-click the file and choose View. When the file opens in its native application, choose File >

Save As, and either save the file in a different folder or change the file name. Select Alternates, and then click Save.

See also

“To view alternates from Bridge” on page 116

“To view alternates” on page 117

To move an alternate to another alternates group

Note:

You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative

Suite or in a shared workspace. See “Availability of Version Cue features” on page 81 for more information.

A file cannot be a member of more than one alternates group. To move an alternate to another group, you must first remove it from it’s original group and then add it to a new group.

Remove the alternate from its group. For instructions, see “To remove an alternate” on page 118.

Add the file to a new alternates group. For instructions, see “To save an alternate” on page 116 or “To make alter nates in Bridge” on page 118.

Editing and synchronizing offline files

When you need to work on files from a Version Cue project while the Version Cue Workspace is unavailable on the network, you can edit working copies on your computer. When the Version Cue Workspace is available again, you must

synchronize

your files with the workspace to save your latest version to the Version Cue Workspace. You can synchronize an entire project, just a folder in the project, or a selected file.

Working copies are normally copied on your computer when you open a project from an online workspace.

However, if you haven’t yet edited the file, you can prepare to work offline by synchronizing the entire Version Cue project, or just the files you need, while the workspace is still online to ensure that you have working copies.

When you are working offline, you can’t create multiple versions because the Save A Version command is unavailable.

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In Version Cue CS2, if you intend to work on a file offline, you can manually mark the file In Use before you take your work offline. When you mark a file In Use, Version Cue creates a working copy of the file for you. (You can mark a file In Use even if you don’t intend to work offline.) Typically, when you’re editing a file, In Use appears when other users access a file. When a file’s status is In Use, Version Cue protects the file. When you synchronize your file, the status of the file returns to Synchronized. Mark In Use is not available in Acrobat 7.

If you have edited an offline file recently, you can open it from the File > Open Recent menu.

See also

“Availability of Version Cue features” on page 81

To manually mark a file as In Use

Note:

You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative

Suite or in a shared workspace. See “Availability of Version Cue features” on page 81 for more information.

Do one of the following:

•

In Bridge, click Version Cue in the Favorites panel. Navigate to the file. Select one or more files. Right-click

(Windows) or Ctrl-click (Mac OS) a file, and then choose Mark In Use.

•

In Illustrator, InCopy, InDesign, or Photoshop, choose File > Open. Click Version Cue in the Favorites panel, and then navigate to the file. Select one or more files. Right-click (Windows) or Control-click (Mac OS) a file, and then choose Mark In Use. (Mark In Use is not available in Acrobat 7.)

When you finish editing the file offline and the Version Cue workspace is again available, synchronize the file in

Bridge or in any Adobe Creative Suite component. Version Cue automatically creates a new version of the file. If the workspace becomes available while you still have the file open, simply save a version.

If you haven’t made any changes, you can manually cancel the In Use By Me status, by choosing Cancel Mark In Use from the context menu.

See also

“To synchronize files” on page 121

“To synchronize files in Bridge” on page 121

To edit working copies of files from an offline project

Note:

You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative

Suite or in a shared workspace. See “Availability of Version Cue features” on page 81 for more information.

For information on editing offline files in Acrobat 7, see Acrobat Help.

In Illustrator, InCopy, InDesign, or Photoshop, choose File > Open. Click Use Adobe Dialog if you’re using the

OS dialog box.

Click Version Cue in the Favorites panel.

Double-click the host Version Cue Workspace.

Double-click the Version Cue project that contains the file. It may take Version Cue a few seconds to verify that a

Version Cue Workspace or project is unavailable.

Double-click a file to open it (the Offline Copy status allows you to open the file).

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When you finish editing the file, choose File > Save to save the changes to the working copy. When the Version

Cue Workspace becomes available again, synchronize your files.

See also

“Editing and synchronizing offline files” on page 119

“To synchronize files” on page 121

“To synchronize files in Bridge” on page 121

To synchronize files in Bridge

Note:

You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative

Suite or in a shared workspace. See “Availability of Version Cue features” on page 81 for more information.

Start Bridge. In the Favorites panel, click Version Cue.

Double-click Workspaces.

Select the project that contains the master file, and do one of the following:

•

To synchronize the entire project, right-click (Windows) or Control-click (Mac OS) the project, and then choose

Synchronize.

•

To synchronize a file in the project, open the project, right-click (Windows) or Control-click (Mac OS) the folder or file, and choose Synchronize from the Project Tools menu.

If the master file on the Version Cue Workspace is newer than your working copy and you’ve edited the working copy, a File Conflict dialog box appears. Specify one or more of the following:

Apply The Following Action To All Subsequent Conflicts

Automatically applies the selected option every time there is a file conflict.

Save A Version

Saves your working copy as a new file version to the Version Cue Workspace.

Skip This File

Prevents the most recent version from the Version Cue Workspace from being downloaded. (This option also prevents a version of your working copy form being saved to the workspace.) Choose this option only if you want to keep your edits and disregard the other changes in the master file.

To synchronize files

Note:

You can perform this task only if you have access to the full Version Cue feature set, available in Adobe Creative

Suite or in a shared workspace. See “Availability of Version Cue features” on page 81 for more information.

For information on synchronizing files in Acrobat, see Acrobat Help.

In Illustrator, InCopy, InDesign, or Photoshop, choose File > Open. Click Use Adobe Dialog if you’re using the

OS dialog box.

Click Version Cue in the Favorites panel.

Select the project that contains the master file, and do one of the following:

•

To synchronize the entire project, choose Synchronize from the Project Tools menu .

•

To synchronize just a folder or one or more files, open the project, select the folder or files that you want to synchronize, and choose Synchronize from the Project Tools menu.

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If the master file on the Version Cue Workspace is newer than your working copy and you’ve edited the working copy, a File Conflict dialog box appears. Specify one or more of the following:

Apply The Following Action To All Subsequent Conflicts

Automatically applies the selected option every time there is a file conflict.

Save a Version

Saves your working copy as a new file version to the Version Cue Workspace.

Skip This File

Prevents the most recent version from the Version Cue Workspace from being downloaded. (This option also prevents a version of your working copy from being saved to the workspace.) Choose this option only if you want to keep your edits and disregard the other changes in the master file.

The Version Cue Administration utility

About the Version Cue Administration utility

Using the Version Cue Administration utility, you can do more advanced tasks that affect a specified project or an entire Version Cue Workspace.

The following table lists the Version Cue-related tasks that you can accomplish through an Adobe Creative Suite component and those that you can accomplish through the Version Cue Administration utility.

Task

Create, edit, and delete

Version Cue projects

Yes

Share a project with anyone who is using Adobe Creative

Suite, an Adobe Creative Suite component, or a WebDAV enabled application

Yes

Delete a file version Yes

Adobe

Creative

Suite compo nents

Version Cue

Administra tion

Yes

Yes Delete multiple file versions at once

Yes

Create Version Cue projects from remote files via FTP

No Yes

Yes Create Version Cue projects from remote files via WebDAV

Import Version Cue 1.0 projects

Back up Version Cue projects and restore backup versions of a project

View the amount of disk space a project uses, its lock protec tion status, its creator, and its creation date

Yes

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Task

Duplicate or export Version

Cue projects

Edit Version Cue Workspace preferences

Add and edit users, and define their project privileges

Change the properties of a

Version Cue project to require users to log in before accessing it

Adobe

Creative

Suite compo nents

Version Cue

Administra tion

No Yes

Yes

Yes View all users and their privi leges for all projects in the

Version Cue Workspace

Remove all In Use locks in a project or those created by a specified user

View Version Cue Workspace logs and reports

Add files to an existing project Yes

Create file versions Yes

View file comments and other information

Yes

Search for files using file infor mation (metadata)

Yes

Initiate and manage a webbased review of PDF files in

Version Cue projects

Yes

Logging into and out of the Version Cue Administration utility

When you install Version Cue on your computer, Version Cue automatically creates a default user login ID with administrator privileges. You should change the password for this default user login, as it is publicly available for initial installation and setup. Until you change the default password, the default user login ID can only be used directly from the computer the Version Cue workspace is located on, not across a network. If the Administration utility is installed on your computer, you can start using the web-based Version Cue Administration utility with the

Version Cue default login ID (

system

) and password (

system

Users working in a group with a login ID and password can log into the Version Cue Administration utility. The tasks that workgroup users can perform are limited by the privileges assigned to their Version Cue login ID by the admin istrator. However, users whose access level is set to None can’t log into the Version Cue Administration utility.

You can display the Version Cue Administration login web page in the following ways:

•

By opening the Version Cue preferences and clicking the Advanced Administration button.

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•

By clicking the Advanced Administration button in GoLive CS2, Illustrator CS2, InCopy CS2, InDesign CS2,

Photoshop CS2, or Acrobat 7.

•

By typing the IP address of the Version Cue Workspace directly into a web browser.

•

By selecting Advanced Administration from the Version Cue system tray icon (Windows) or the Version Cue menu (Mac OS).

See also

“Choosing user privileges” on page 136

To log into Version Cue Administration from an Adobe Creative Suite component

You can log in the same way from InCopy CS2, InDesign CS2, Illustrator CS2, Photoshop CS2, and Acrobat 7.

Choose File > Open, and click the Use Adobe Dialog button in the dialog box.

Select the Version Cue Workspace you want to administer.

Choose Edit Properties from the Tools menu .

Click Advanced Administration in the Edit Properties dialog box.

Type your assigned Version Cue login ID and password in the text boxes. (The default for both the ID and password is

system

Click Log In.

To log into Version Cue Administration from GoLive CS

Open the Version Cue site file.

Choose Site > Version Control System > Open Version Cue Administration.

Type your assigned Version Cue login ID and password in the text boxes. (The default for both the ID and password is

system

Click Log In.

To log into Version Cue Administration from a web browser

In a web browser, type the IP or DNS address of the computer on which the Version Cue Workspace is installed.

Precede the address with http:// and follow it with a colon and the port number, for example, http://153.32.235.230:3703 (IP) or http://

myserver.mycompany.com

:3703 (DNS). The default port number is 3703.

Note:

If you have Version Cue 1.0 installed on your computer, the default port number for Version Cue 2.0 is 50800.

Once Version Cue 1.0 is uninstalled, Version Cue 2.0 defaults to 3703.

A browser window displays the Adobe Version Cue Administration login page. Type your assigned Version Cue login ID and password in the text boxes. (The default for both the ID and password is

system

Click Log In.

To log into Version Cue Administration from the Version Cue Preferences dialog box

Do one of the following:

•

(Windows) Double-click the Version Cue icon in the system tray. In the Edit Project Properties dialog box, click

Advanced Administration.

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•

(Windows) Right-click the Version Cue icon in the system tray and then choose Version Cue CS2 Preferences.

On Windows, double-click the Version Cue icon to open the preferences dialog box.

•

(Mac OS) Click the Version Cue icon at the top of the screen, and then choose Advanced Administration from the menu.

•

(Mac OS) Control-click the Version Cue icon and choose Version Cue CS2 preferences.

On Mac OS, choose Version Cue CS2 Preferences to open the preferences dialog box

Type your assigned Version Cue login ID and password in the text boxes. (The default for both the ID and password is

system

Click Log In.

To log out of Version Cue Administration

❖

Click Log Off at the top of the page.

About Version Cue Administration integrity checks

Each time the Version Cue Workspace restarts, it performs an integrity check and performs repairs if necessary. To ensure best performance, restart the Version Cue Workspace periodically so it can perform the integrity check and self-repair.

To set Version Cue Workspace Administration preferences

Log into the Version Cue Administration utility.

Do one of the following:

•

Click the Advanced tab, and then click Preferences.

•

On the Home page, click Perform Advanced Tasks, and then click Preferences.

Set any of the following options:

Workspace Name

To change the Version Cue Workspace name, type a name in the text box. This name identifies the

Version Cue Workspace in Adobe Creative Suite components using Version Cue.

Make This Version Cue Workspace Visible To Others.

When selected, gives other computers access to the Version

Cue Workspace.

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Note:

If the Version Cue Workspace is installed on a Windows computer that uses a firewall and you want to share the workspace with others, make sure that TCP ports 3703 and 427 are left open and deselect the Internet Connection

Firewall option (see Windows Help).

Only Grant Access To Existing Users

Specifies whether Version Cue projects are available to a user. Make sure to set access properties for each desired project and to edit the project’s list of assigned users.

Log Level

Defines the amount of information in reports generated by the Version Cue Workspace system. Choose a log level: Error to list only Version Cue Workspace errors; Warning to list workspace errors and warnings; or Info to list errors, warnings, and information about tasks performed.

Log Size

Sets the maximum size, in kilobytes, for a system report. To reduce the log file size by saving it as a compressed GZ file, select Compress Log File.

FTP Proxy

Specifies the default FTP Proxy server for users importing projects from or exporting projects to an FTP server, or publishing with GoLive to an FTP server.

HTTP Proxy

Specifies the default HTTP Proxy server for users importing projects from or exporting projects to a

WebDAV server, or publishing with GoLive to a WebDAV server.

Color Scheme

Sets the background colors of the tabs.

Click Save, and then restart Version Cue Administration.

Migrating from Version Cue 1.0 to Version Cue 2.0

If you currently use Version Cue 1.0, you need to migrate your projects and user data to Version Cue 2.0. Keep the following in mind:

•

Version Cue 1.0 and Version Cue 2.0 Workspaces can be installed and function on the same computer simulta neously.

•

If Version Cue 1.0 and Version Cue 2.0 Workspaces are installed on the same computer, Adobe Creative Suite 1.0 components work only with the Version Cue 1.0 Workspace, because they can communicate only with the port that the Version Cue 1.0 Workspace uses.

Note:

If you uninstall the Version Cue 1.0 Workspace and then restart the Version Cue 2.0 Workspace, the Version Cue

2.0 Workspace then uses the Version Cue 1.0 Workspace’s port, allowing Adobe Creative Suite 1.0 components and

Adobe Creative Suite 2.0 components to work with the Version Cue 2.0 Workspace.

•

If only the Version Cue 2.0 Workspace is installed, Adobe Creative Suite 1.0 components will work with it.

•

Adobe Creative Suite 2.0 components work only with Version Cue 2.0 Workspaces.

•

Adobe Creative Suite 1.0 components work with both Version Cue 1.0 and Version Cue 2.0 Workspaces simulta neously as long as the workspaces are not located on the same computer.

•

You can import Version Cue 1.0 projects and users using the Administration utility (see “To migrate from Version

Cue 1.0 to Version Cue 2.0” on page 126).

To migrate from Version Cue 1.0 to Version Cue 2.0

After installing Version Cue 2.0, restart the Version Cue 1.0 Workspace. The activates a migration plug-in.

Log into the Version Cue Administration utility.

Click the Advanced tab, and then click Import Version Cue 1.0 Data.

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Select the data you’d like to migrate to Version Cue 2.0:

•

Projects and users. Click Next. Select the check box next to the name of any projects you want to import, and click

Next. Then, select the check box next to the name of any users you want to import, and click Next.

•

Only projects. Click Next. Then, select the individual projects you want to import, and choose whether to import all the users assigned to those projects (at this point, you cannot select individual users; you must import either all users or no users). Click Next. If you choose to import the users, select the users you want to import, and click

Next.

•

Only users. Click Next, and, in the next page, select the check box next to the name of any users you want to import.

When the migration process is complete, verify the information you’re importing, and confirm the migration.

Uninstall Version Cue 1.0.

Restart the Version Cue 2.0 Workspace. This resets the port to allow access from both Adobe Creative Suite 1.0

and Adobe Creative Suite 2.0 components.

Creating and editing projects in Version Cue

Administration

To create a new blank Version Cue project

Do one of the following:

•

In the Home tab, click Create A Project.

•

Click the Projects tab, and then click New.

In the New Project content frame, click Blank Project to create an empty Version Cue project. Click Next to display the Create Blank Project content frame.

Type a name for your project in the Project Name box.

To specify how to treat the imported content’s URL encoding, choose an option from the URL Encoding menu.

Set any of the following options:

Share This Project With Others

Gives other users access to the project. Users can be on your subnetwork, or they can be given the Version Cue Workspace IP or DNS address and port number to gain access to the Version Cue

Workspace.

Require Login For This Project

Ensures that only users with a Version Cue login ID and password have access to the project.

Enable Lock Protection For This Project

Restricts file versioning to sequential versions.

URL Encoding

Specifies how the content’s URL encoding is treated. UTF-8 is the default setting.

%HH Escaping

Requires that a nonsafe character be encoded as a percent symbol (%) followed by two hexadecimal digits.

Click Save.

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If you chose to require login, do any of the following in the Assigned Users content frame, and then click Save:

•

Choose an option next to each user name in the Privileges column or choose an option from the Set All To menu to define each user’s access. These options won’t work unless you select Require Login For This Project.

•

To let a user publish the project with GoLive CS2 to a specified FTP or WebDAV server, select the check box in the Publishing Privilege column next to the user name.

To create a new Version Cue project from a folder

You can create a Version Cue project from the files in a folder on the computer where the Version Cue Workspace is installed.

Log into Version Cue Administration.

Do one of the following:

•

In the Home tab, click Create A Project.

•

Click the Projects tab, and then click New.

In the New Project content frame, click Import From Folder.

Click Next to display the Import Project From Folder content frame. If the content you’re importing is a website, select Import Folder As A Website to import the content to the project’s web-content folder. To specify the folder to import from, click Browse and select any file in the folder; then click Open. Alternatively, you can type the path to the desired Version Cue Workspace folder in the text box.

Type a name for your project in the Project Name box.

Set any of the following options:

Share This Project With Others

Gives other users access to the project. Users can be on your subnetwork, or they can be given the Version Cue Workspace IP or DNS address and port number to gain access to the workspace.

Require Login For This Project

Ensures that only users with a Version Cue login ID and password have access to the project. Note that if you select this option after a user gains access, the user can still gain access without logging in.

Make sure that you change privileges as needed in the project’s list of users.

Enable Lock Protection For This Project

Restricts file versioning to sequential versions.

URL Encoding

Specifies how the content’s URL encoding is treated. UTF-8 is the default setting.

%HH Escaping

Requires that a nonsafe character be encoded as a percent symbol (%) followed by two hexadecimal digits.

Comments

Stores any remarks you type about the project.

Do any of the following in the Assigned Users content frame, and then click Save:

•

To define each user’s access to the project, choose an option next to each user name in the Privileges column or choose an option from the Set All To menu. These options won’t work unless you select Require Login For This

Project.

•

To let a user publish the project with GoLive CS to a specified FTP or WebDAV server, select the check box in the

Publishing Privilege column next to the user name.

To create a new Version Cue project from a WebDAV server or FTP server

Log into Version Cue Administration.

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Do one of the following:

•

In the Home tab, click Create A Project.

•

Click the Projects tab, and then click New.

In the New Project content frame, do one of the following:

•

Click Import From WebDAV Server.

•

Click Import From FTP Server.

Click Next to display the Import Project From Server content frame.

If the content you’re importing is a website, select Import FTP/WebDAV As A Website to import the content to the project’s web-content folder.

•

In the FTP Server or WebDAV Server box, specify the WebDAV server from which to import files, and type the port number in the Port box.

•

To specify a folder, type its path in the Directory box.

•

If a user name and password are required to access the server, type that information in the User Name and

Password boxes.

•

To use a proxy server to connect to the server, select Proxy.

Type a name for your project in the Project Name box.

To specify how to treat the imported content’s URL encoding, choose an option from the URL Encoding menu.

To comply with the URL syntax requiring nonsafe characters to be encoded as a percent symbol (%) followed by two hexadecimal digits, select %HH Escaping.

Do any of the following, and then click Next:

•

To give other Version Cue or WebDAV users access to the project, select Share This Project With Others. (Users must either be on your subnetwork or be given the Version Cue Workspace IP or DNS address and port number.)

•

To require users to log in with a Version Cue login ID and password before accessing the project, select Require

Login For This Project. If selected, this option ensures that only Version Cue users you specify can log in and access the project.

Note:

If you select this option after other users have already accessed the project without being authenticated, those users can still access the project without logging into it. Make sure that you change their privileges as needed in the project’s list of assigned users.

•

To restrict file versioning to sequential versions, select Enable Lock Protection For This Project.

•

To include remarks regarding the project, type them in the Comments box.

Do any of the following in the Assigned Users content frame, and then click Save:

•

To define each user’s access to the project, choose an option next to each user name in the Privileges column or choose an option from the Set All To menu.

•

To let a user publish the project with GoLive to a specified FTP or WebDAV server, select the check box in the

Publishing Privilege column next to the user name.

Note:

You don’t need to assign users in order to give others access to your Version Cue project. Just make sure to deselect

Require Login For This Project in the project properties.

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To edit Version Cue project properties

Log into the Version Cue Administration utility.

Click the Projects tab, and then click a project name.

Set any of the following options:

Share This Project With Others

Gives other users access to the project. Users can be on your subnetwork, or be given the Version Cue Workspace IP or DNS address and port number.

Require Login For This Project

Make sure that you change privileges as needed in the project’s list of users.

Enable Lock Protection For This Project

Restricts file versioning to sequential versions.

Comments

Stores any remarks you type about the project.

Backup Configuration

Allows you to back up your project or edit backup settings.

Click Save, or click Reset to return the properties to their original values.

See also

“To back up a Version Cue project” on page 132

To duplicate a Version Cue project

Duplicate a project to start new project with the same users and privileges. Version Cue duplicates the folder hierarchy within the project structure, and you can use that as a basis for the new project. Delete any files from the duplicated project that are no longer necessary.

Log into the Version Cue Administration utility.

Click the Projects tab.

Select the check box next to the name of the project, and click Duplicate.

In the Duplicate Project content frame, type a unique name for the project.

Edit the project properties.

Click Duplicate.

To delete a Version Cue project in the Version Cue Administration utility

Log into the Version Cue Administration utility.

Click the Projects tab, and do one of the following:

•

To delete one or more projects, select the check box next to the name of each project you want to delete.

•

To delete all listed projects, select the check box next to the Project Name column label.

Click Delete. The Delete Project content frame appears. Click Delete again, or click Cancel to cancel the deletion.

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To export a Version Cue project to your computer

You can export the most recent version of all project files from the Version Cue Workspace. You can use this export to move these files from one host computer (or server) to another or to create a package of the most recent files for output or simply to create an archive of the final versions.Version Cue still manages projects moved between computers. If you want to move a project, you should decide whether to back it up (so that all past versions are also moved) or export (so that only the current versions of project files are moved). For more information about backing up a project, see “Backing up and restoring projects in the Version Cue Administration utility” on page 132.

Log into the Version Cue Administration utility.

Do one of the following:

•

Click the Projects tab. Select the check box next to the project you want to export, and click Export.

•

Click the Advanced tab, and then click Export Project. The Export Project content frame appears. Select the project you want to export from the Project Name menu.

In the Export Project page, choose the name of the project you want to export, and then choose File from the

Protocol menu.

Click Browse, and specify the folder to which you want to export the project. Select any file in the folder, and click

Open.

Click Export.

You can also export a project by using the Version Cue preferences. For more information, see “To set Version Cue

Workspace preferences” on page 84.

To export a Version Cue project to an FTP or WebDAV server

Log into the Version Cue Administration utility.

Do one of the following:

•

Click the Projects tab. Select the check box next to the project you want to export, and click Export.

•

Click the Advanced tab, and then click Export Project. The Export Project content frame appears. Choose the project you want to export from the Project Name menu.

In the Export Project page, choose the name of the project you want to export and then choose either FTP or

WebDAV from the Protocol menu.

Specify the FTP or WebDAV server address in the Server Address text box. You don’t need to precede the address with the chosen protocol. If you want, you can change the default port number in the Port box.

To specify a folder, type its path in the Directory box.

If a user name and password are required to access the server, type that information in the User Name and

Password boxes.

To use a proxy server to connect to the server, select Proxy.

If you are connecting to the server through a firewall, or if you specified a port other than 21, select Use Passive

Mode. (This is an option only if you choose FTP in the Protocol menu.)

Click Export.

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To remove file locks from a Version Cue project

A user with system administrator privileges or with project-specific Administer privileges can remove file locks.

Removing file locks forces the removal of In Use status of files designated by specific project or by user throughout all the projects.

Log into the Version Cue Workspace Administration utility.

Click the Advanced tab , and then click Reset Locks (under Maintenance).

Do any of the following:

•

Choose a project from the Project Name menu.

•

Choose a user from the User Name menu.

Click Reset Locks to remove the specified file locks.

To delete file versions in a project

Each time you save a file version, the version is stored on the Version Cue Workspace database. This database creates a file version history that lets you quickly return to any former state of the file. Although a version history is useful, an extensive history takes up a lot of disk space and can degrade the performance of the Version Cue Workspace. It’s a good idea to clean up versions to improve performance.

Log into the Version Cue Workspace Administration page.

Click the Advanced tab , and then click Remove Old Versions.

Choose a project from the Project Name menu.

To delete versions, select Delete All Versions Older Than, and then choose a month, day, and year.

To specify the maximum number of versions to remain in the workspace after you click Delete, select Number Of

Versions To Keep, and then type a number in the text box.

Click Delete.

Backing up and restoring from Version Cue

Administration

Backing up and restoring projects in the Version Cue Administration utility

The Version Cue Administration utility creates backups of all the information in a Version Cue project. Project backups are stored on the Version Cue file system, in the Backups folder. You can then easily restore a backup copy that represents a Version Cue project as it was on a specific date. Restored project backups do not replace the original

Version Cue project; restored projects are given different project names. You can use a project backup to move a project from one Version Cue Workspace to another while retaining all the versions of that project.

You can customize a backup configuration for your projects. You can back up a project using a new configuration or an existing configuration. A backup configuration includes the ability to schedule a recurring backup for the project.

To back up a Version Cue project

The backup configuration used to back up a project is set in the Version Cue project preferences.

Log into the Version Cue Administration utility.

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Click the Projects tab.

Select the check box next to the project name, and then click Backup.

In the Backup Name text box, accept the name, or type a new name.

Choose the project components you want to back up: Files (which is always selected), Project File Versions to back up all versions of the files, Project Metadata to back up embedded information entered in Adobe Creative Suite components, and Users/User Assignments to back up information about the users and their project privileges.

Click Backup. When the backup is complete, a status page appears.

See also

“To edit Version Cue project properties” on page 130

To restore a Version Cue project backup copy

Log into the Version Cue Administration utility.

Click the Projects tab.

Click Backup List.

Click the name of the backup that you want to restore.

In the New Project Name box, type a name that is different from those of other projects in the Version Cue

Workspace.

Do any of the following, and then click Restore:

•

To retain the list of users that were assigned to the project, select Restore Users.

•

To retain the same privileges for each assigned user, select Restore User Assignments.

•

To add remarks, type them in the Comments box.

To create a new backup configuration

New backup configurations are created in the project’s preferences. When you create a new configuration, it becomes the default for the project.

Log into the Version Cue Administration utility.

Click the Projects tab.

Select the name of the project for which you want to create a new backup configuration.

Under Backup Configurations in the Edit Properties page, click New.

Type a name for the backup configuration in the Configuration Name box.

Select what you want to back up in the Include list of options: Files (which is always selected), Project File Versions to back up all the versions of the project, Project Metadata to back up embedded information entered in Adobe

Creative Suite components, and Users/User Assignments to back up information about the users and their project privileges.

(Optional) Add remarks to the backup file in the Comments box.

Choose an option from the Repeat menu if you want backups to occur automatically (choose Don’t Repeat if you want to back up the project manually).

Click Save to save the new configuration and to see a list of backup configurations.

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To back up all data in the Version Cue Workspace

It’s important to back up projects in a Version Cue Workspace from time to time. Rather than doing this project by project, you can instead back up the complete Version Cue Workspace. You can also use this backup to move a complete workspace from one computer to another. If you restore a backup copy of the Version Cue Workspace, all current data on the workspace, including Version Cue projects, files, and versions, is replaced by the backup.

Workspace backup files are saved to the default Backups folder in the Version Cue application folder.

Log into the Version Cue Administration utility.

Click the Advanced tab , and then click Backup Version Cue Data.

To add remarks about the workspace backup, type them in the Comments box.

Click Save. After the back up is complete, click OK to view the list of workspace backups.

To replace a project with a previous backup

To replace current projects on a Version Cue Workspace with a previous version, you first restore the backup. When you do this, Version Cue Administration turns off automatically. You must restart Version Cue on the host workspace; it cannot be done remotely.

Log into the Version Cue Administration utility.

Click the Advanced tab, and then click Administer Backups.

Click the name of the backup you want to restore. Click Restore. The Version Cue Workspace turns off. Close the browser. (Notice that the Version Cue icon in the system tray indicates that it’s off .)

Turn on the Version Cue Workspace.

Log into the Version Cue Administration utility.

Working with users and privileges

Creating and editing users

All users with a Version Cue user name and login (except those whose access level is set to None) can log into the

Version Cue Workspace Administration utility. However, the tasks they can perform are limited by the privileges assigned to their user names.

To restrict the Version Cue projects that a user can access, you can edit the project’s existing user names. Or, to restrict access further, you can create new Version Cue user names and assign them to a specific project. Creating new names gives you the most control over a project.

Note:

Only users who have system administrator privileges can create new user names.

If you’ve configured the Version Cue Workspace to be visible to others in the Version Cue Administration utility, you don’t need to create and assign Version Cue user names to let other Adobe Creative Suite or WebDAV users access your Version Cue projects and the Version Cue Workspace. The users simply need either to be on your subnetwork or be given the Version Cue Workspace IP or DNS address and port number. After a user accesses the Version Cue

Workspace without using a Version Cue user name, the user name for the user’s own computer is automatically added to the list of users in the Version Cue Workspace, and the password is left blank.

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If you’ve configured the Version Cue Workspace so it grants access only to existing users, you’ll need to create

Version Cue user names to let other Adobe Creative Suite or WebDAV users access your Version Cue projects and the Version Cue Workspace.

To create new Version Cue user names

To create new user names in a Version Cue Workspace, you need system administrator privileges.

Log into the Version Cue Administration utility.

Do one of the following:

•

From the Home page, click Add A User.

•

Click the Users tab, and then click New in the content frame.

In the New User content frame, choose the level of access to give the user from the Admin Access Level menu:

None

Denies the user access to the Version Cue Workspace Administration utility, however, the user can access

Version Cue projects while working in an Adobe Create Suite component.

User

Gives the user access to some administrator privileges, such as viewing other users’ information, creating new projects, and backing up and restoring projects.

System Administrator

Grants the user all privileges.

Type the user’s name in the User Name box.

Type a unique login in the Login box. The login is needed in Adobe Creative Suite components, if a project requires it, to log into the Version Cue Workspace Administration utility.

Type a password for the user in the Password box, and type it again in the Verify Password box.

(Optional) Type a phone number, an e-mail address, and comments in the remaining text boxes. Make sure to enter an e-mail address if the user will participate in Version Cue PDF reviews and will receive invitation e-mails.

To define the user’s project access, choose the user’s project privileges next to each project name in the Privileges column. To give the user the same privileges for every project, choose an option from the Set All To menu.

To let a user publish a project to a specified FTP or WebDAV server, select the check box in the Publishing

Privilege column next to the project name.

Click Save.

To edit a Version Cue user name

To edit a user’s privileges, you need system administrator privileges.

Log into the Version Cue Workspace Administration page.

Do one of the following:

•

Click Edit Users in the Home page.

•

Click the Users tab.

Click the user name of the user name you want to edit.

Edit the user properties and privileges.

Click Save.

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To duplicate or delete a Version Cue user name

You can duplicate a Version Cue user to set up a new user with the same project privileges as the original user.

Complete this procedure, and then change the duplicate user name and login as required.

Log into the Version Cue Workspace Administration page.

Click the Users tab.

Select the check box next to each user name you want to duplicate or delete. To select all listed user names, select the check box next to the User Name column label.

Do one of the following:

•

Click Duplicate. Edit the user’s properties in the Duplicate User content frame and click Save.

•

Click Delete. To confirm the deletion, click Delete in the Delete User content frame.

Choosing user privileges

Version Cue user logins are associated with one of three levels of privilege: None, User, or System Administrator.

Users with privileges set to None can’t access the Version Cue Workspace Administration utility but can access

Version Cue projects while working in an Adobe Creative Suite component or an application that supports WebDAV.

The following table describes the privileges associated with the User and System Administrator levels.

Administration utility task User System

Adminis trator

Yes Create and update Version Cue user login IDs

Read other Version Cue users’ login information

Yes

Update own user login informa tion excluding login ID privilege level

Yes

Duplicate and delete user IDs

Import and export user lists

Create new projects (users must have Project Creation Allowed selected in their privileges)

Yes

Delete or restore project backups No

Perform all tasks listed in the

Advanced content frame

Change the Administration utility color scheme in the Advanced preferences

Yes

Reset locks and remove file versions from projects to which the user is assigned and also granted Administer privileges

Yes

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Administration utility task User

Back up, delete, and restore all

Version Cue Workspace data

View Version Cue Workspace information, logs, and reports; and save reports

Delete reports for projects to which the user is assigned and also granted Administer privi leges.

Yes

System

Adminis trator

Yes

To export a list of users

If you want to add a set of users to another computer with a Version Cue Workspace, you can export the list and then copy it to the UsersExport folder in the Version Cue application folder of another computer with a Version Cue

Workspace.

Log into the Version Cue Administration utility.

Click the Users tab.

Select the check box next to each user name you want to export. To select all listed user names, select the check box next to the User Name column label.

Click Export List. The Export Users content frame displays the list of users to be exported.

Click Next, and type a name for the list in the Name box. If you like, type remarks in the Comments box.

Click Save. The Export Users content frame displays the list of exported users.

The location of the user list appears under the Export Users heading. To import this list into another Version Cue

Workspace, copy this file into the destined workspace’s Data/UsersExport folder in the Version Cue application folder. Note that this folder can be moved and may be in a different location on the workspace.

To import users from a list

Log into the Version Cue Administration utility.

Click the Users tab, and then click Import List.

Click the name of the user list you want to import.

Select the check box next to each user name you want to import, or select the check box next to the User Name column label to select all listed user names.

Click Next.

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Viewing logs, reports, and workspace information

Viewing Version Cue Workspace information and reports

You can display the Version Cue Workspace version, name, licensee, serial number, Java version, database version,

Version Cue client URL (IP or DNS address), WebDAV client URL, copyright, and patent information with the

Version Cue Workspace Administration utility.

Users who are working in Adobe Creative Suite can use the Version Cue Client URL to connect to Version Cue projects when they’re not on the workspace’s subnetwork. Users who are working in applications that support

WebDAV can use the WebDAV Client URL to connect to Version Cue projects.

You can also display and manage three kinds of reports (import, export, and publish) and the Version Cue

Workspace log file, which tracks all server operations according to the level of detail you specify.

Display time varies according to the size of the log file. The default log file size is 1024K. If the log file exceeds a specified size limit, the system creates a new log file and saves the old one. Log files are saved in the Logs folder

located in the Version Cue application folder.

To view Version Cue Workspace information

Log into the Version Cue Administration utility.

Do any of the following:

•

Click the Home tab. Workspace information is listed under About This Workspace.

•

Click the Advanced tab, and then select Workspace Info.

•

Click About at the top of the page to display copyright and patent information. A window opens, listing infor mation about the Version Cue Workspace.

To view the Version Cue Workspace log file

Log into the Version Cue Administration utility.

Click the Advanced tab, and then select Workspace Log. The Workspace Log content frame displays information about the Version Cue Workspace history.

Do any of the following:

•

To change the number of rows displayed, choose an option from the Rows To Display menu.

•

To navigate to a different page of the log, click Next, End, Beginning, or Previous, if available.

To view a Version Cue report

Log into the Version Cue Administration utility.

Click the Advanced tab, and then select Reports.

Choose the type of report you want to view from the Reports menu.

To view available reports from a single project, choose the project name from the Filter By menu. To view available reports from all projects on the Version Cue Workspace, choose All.

Click the project’s name in the Project Name column. The content frame displays the report. Choose options from the available menus to change how the report appears.

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To save an HTML copy of the report to your computer, click Save, and specify a location.

To return to the report list, click Report List.

To delete Version Cue reports

Log into the Version Cue Administration utility.

Click the Advanced tab, and then select Reports.

Choose the type of report you want to delete from the Reports menu:

•

To delete all reports from a single project, choose the project name from the Filter By menu.

•

To delete all reports from two or more projects on the Version Cue Workspace, choose All.

Select the check box next to each project whose reports you want to delete. To select all project reports, select the check box next to the Project Name column label.

Click Delete.

Version Cue PDF reviews

About Version Cue PDF reviews

Using Version Cue you can set up and conduct web-based reviews of PDF documents that are in a Version Cue

Workspace. You can invite selected reviewers by e-mail, create the e-mail message in your e-mail program, and include a direct link to the review document in the e-mail. Invited reviewers only need Adobe Acrobat software and a Version Cue login to access the PDF document using their web browser. As the review progresses, reviewers upload their comments to the Version Cue Workspace. In an open review, all reviewers can see each other’s comments in the PDF document as the review progresses.

You can specify when the review ends or stop a review at any time. When a review is complete, you can view all comments either in the context of the original document or as a list in the Version Cue Administration utility. When you view the comments in the context of the PDF document, all of the Acrobat commenting tools are available, including printing.

Version Cue PDF reviews are especially useful in the late stages of a project when there isn’t time to arrange a tradi tional paper-based review. They are also useful when reviewers are dispersed over a wide geographical area. Aggre gated comments make it easy to summarize comments and track the progress of the review.

Initiating a Version Cue PDF review

You use the Version Cue Administration utility to initiate and manage a Version Cue PDF review. From the Version

Cue PDF review area in the utility, you can start reviews and invite reviewers, find reviews in which you’re partici pating, search for review documents, view review comments (as well as filter the comments by reviewer), stop reviews, and delete finished reviews. You can also reopen completed reviews.

Keep in mind the following requirements for using Version Cue PDF review:

•

To use Version Cue PDF review, reviewers need a Version Cue login name and privileges that allow them to log into the Version Cue Workspace hosting the review.

•

To view the PDF and add comments, users need Acrobat 7.0 Professional. For more information about commenting in Acrobat, see Acrobat Help.

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•

To access a review, users need an Internet connection.

To start a new Version Cue PDF review

You can start a Version Cue PDF review for any version of any PDF document that is in a Version Cue Workspace, provided that you have appropriate privileges to access the Version Cue Administration utility. Only one version of a PDF document may be in active review at any point in time.

At any time, to return to the main Version Cue CS2 Review page, click the Home button . To return to Version

Cue Administration, click Version Cue CS2 Administration.

Log into the Version Cue Administration utility. (For instructions, see “To log into Version Cue Administration from the Version Cue Preferences dialog box” on page 124 and “To log into Version Cue Administration from a web browser” on page 124.)

Click the Version Cue CS2 Review link at the top of the page.

Do one of the following:

•

In the main Version Cue CS2 Review page, click Start A Review.

•

Click the Documents tab, and choose Not Started from the Review Status menu.

In the Document List, click the name of the PDF document you want to review.

Choose the version you want to review, and then click Start Review.

In the Start Review page, enter review information:

•

To set an end date for the review, select Deadline, and then choose the end date from the Year, Month, and Day menus.

•

To let reviewers see each other’s comments, select Open under Review Mode. Select Private if you want reviewers to see only their own comments.

•

If you want to add a description of the review, type the information in the Description box.

•

To add reviewers, select the reviewers’ names in the Reviewers section (click the check box next to the Reviewers column label to select or deselect all reviewers).

Note:

If a reviewer is outside your everyday workgroup and doesn’t have a Version Cue login, you’ll need to set one up in advance. You must also provide network access—typically through a firewall—for outside reviewers.

Click Next.

To send an e-mail invitation to reviewers, select Send E-Mail Invitation, and then modify the Mail Subject and

Mail Message as desired. In the E-Mail Recipients section, choose reviewers you wish to invite by e-mail.

Click Start Review to activate the review.

If you chose to invite reviewers by e-mail, Version Cue starts your e-mail program and displays an e-mail message addressed to the reviewers. The e-mail includes a direct link to the document being reviewed. Confirm the contents of the review e-mail, and send it.

To locate PDF reviews

After you locate a PDF review, you can open it, view or delete review comments, stop or restart a review, or delete the review from the Version Cue Workspace.

Log into the Version Cue Administration utility.

Click the Version Cue CS2 Review link at the top of the page.

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Do one of the following:

•

If you don’t know the name of the PDF document under review, or want to view all active reviews, click Active

Reviews in the Home tab. Alternatively, click the Documents tab and choose Active from the Review Status menu.

•

If you don’t know the name of the PDF document for which a review has been completed, or want to view all completed reviews, click Finished Reviews in the Home tab. Alternatively, click the Documents tab and choose

Finished from the Review Status menu.

•

If you want to search for a PDF document that is under review or for which a review has been completed, click

Search Documents in the Home tab, and choose search criteria from the Project Name, Review Status, and List

Entries menus. To find a PDF document by its name, enter the name or part of it in the Document Name field.

Click Search.

To set viewing options in the Document List

You can filter the Document List in the Documents tab by doing one or more of the following:

•

To display only PDF documents in a specific project, choose that project from the Project menu.

•

To limit the number of documents displayed, choose an option from the List Entries menu (use the arrows to the right of the List Entries menu to view additional files).

•

To limit the list according to document name, enter part of a document name in the Document Name field and press Enter (Windows) or Return (Mac OS). (To view all files again, delete the text in the Document Name field and press Enter or Return.)

•

To sort the list by the entries in a column, click the column heading. (Click the heading again to reverse the sort order.)

To open an active or completed PDF review

Locate the active or completed review (see “To locate PDF reviews” on page 140).

Click the PDF document name in the Document List, and then select any of the versions in the Document History list.

To stop a PDF review

Locate the active review (see “To locate PDF reviews” on page 140).

Click the PDF document name in the Document List.

In the Document History list, select the active review and click Stop Review.

To restart a completed PDF review

Locate the completed review (see “To locate PDF reviews” on page 140).

Click the PDF document name in the Document List.

In the Document History list, select the completed review and click Start Review. Adjust review settings as desired.

Note:

After you click Start Review, you see a series of screens that refer to starting, rather than restarting, a review.

However, this procedure does restart the review of the existing document.

See also

“To start a new Version Cue PDF review” on page 140

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To delete a PDF review

When you delete a review, Version Cue permanently removes the review comments. However, review comments for a PDF file are also deleted if you permanently delete the file itself from the Version Cue Workspace. Note that if you delete only a version of a PDF file from the workspace, the review comments for that version are deleted.

Locate the active or completed review (see “To locate PDF reviews” on page 140).

Click the PDF document name in the Document List.

In the Document History list, select a version and click Delete Review.

When Version Cue prompts you to delete the review, click Delete.

See also

“Deleting files and folders” on page 106

To edit review settings

Locate the active or completed review (see “To locate PDF reviews” on page 140).

Click the PDF document name in the Document List.

Select one of the versions in the Document History list, and click Edit Review Settings.

Do any of the following:

•

To set or change an end date for the review, select Deadline, and then choose the end date from the Year, Month, and Day menus.

•

To let reviewers see each other’s comments, select Open under Review Mode. Select Private if you want reviewers to see only their own comments.

•

If you want to add or edit a description of the review, type the information in the Description box.

•

To add or remove reviewers, select or deselect the reviewers’ names in the Reviewers section (click the check box next to the Reviewers column heading to select or deselect all reviewers).

Click Next.

To send an e-mail invitation to reviewers, select Send E-Mail Invitation, and then modify Mail Subject and Mail

Message as desired. In the E-Mail Recipients section, choose reviewers you wish to invite by e-mail

Click Save Review. If you chose to invite reviewers by e-mail, Version Cue starts your e-mail program and displays an e-mail message addressed to the reviewers. This e-mail includes a direct link to the document being reviewed.

Confirm the contents of the review e-mail, and send it.

About PDF review comments

Review comments include, in addition to the text of the comment itself, information about who created the comment and when, what type of comment was created, and what page of the document the comment appears on. Different comment types are distinguished by their icons. You can use any of the Acrobat commenting tools in a Version Cue

PDF review.

Version Cue stores review comments in the Version Cue Workspace. You can view comments in the Version Cue

Administration utility or directly in the PDF document. To view all review comments directly in the document, you must access the document either by using the link from the review invitation or by opening the review document from the Version Cue Administration utility. (If you open the review document from the Open dialog box in Acrobat or from Bridge, the review comments aren’t visible.)

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For more information about Acrobat commenting tools, search for “commenting” in Acrobat Help.

To view or delete PDF review comments

Locate the review (see “To locate PDF reviews” on page 140).

Click the PDF document in the Document List.

Do one of the following:

•

To view all review comments directly in the PDF document, click the version name.

•

To view review comments in the Version Cue Administration utility, select the version in the Document History list and click View Comments.

To view any of the comments in the context of the PDF document, select a comment and then click Open In Acrobat.

•

To delete review comments in the Version Cue Administration utility, select the comment and click Delete

Comments. (To select all comments, click the check box next to the Page column heading.)

Chapter 7: Drawing

About drawing

About vector graphics

Vector graphics are made up of lines and curves defined by mathematical objects called

vectors

. Vectors describe an image according to its geometric characteristics. For example, the boot laces in a vector graphic are defined by a specific width and length, set at a specific location, and filled with a specific color. You can move, resize, or change the color of the laces without losing the quality of the graphic.

Vector graphics are resolution-independent—that is, they can be scaled to any size and printed at any resolution without losing detail or clarity. As a result, vector graphics are the best choice for representing graphics that must retain crisp lines when scaled to various sizes—for example, logos.

200%

Vector graphic at different levels of magnification

800%

About paths

As you draw, the resulting line is called a

path

. A path is made up of one or more straight or curved

segments

. The beginning and end of each segment is marked by

anchor points

, which work like pins holding a wire in place. You change the shape of a path by editing its anchor points. You can control curves by dragging the

direction points

at the end of

direction lines

that appear at anchor points.

A path is either

open

, like an arc, or

closed

, like a circle. For an open path, the starting and ending anchor points for the path are called

endpoints

Components of a path

Selected (solid) endpoint

Selected anchor point

Curved path segment

Direction line

Direction point

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Paths can have two kinds of anchor points—corner points and smooth points. At a

corner point

, a path abruptly changes direction. At a

smooth point

, path segments are connected as a continuous curve. You can draw a path using any combination of corner and smooth points. If you draw the wrong kind of point, you can always change it.

A B C

Points on a path

Four corner points

Four smooth points

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.

See also

“Direction lines and direction points” on page 157

Drawing tool gallery

Illustrator provides the following drawing tools:

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 The Convert Anchor Point

(-) deletes anchor points from tool (Shift+C) changes paths. smooth points to corner points and vice versa.

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The Line Segment tool (\) draws individual straight line segments.

The Arc tool draws individual concave or convex curve segments.

The Spiral tool draws clockwise and counter clockwise spirals.

The Rectangular Grid tool draws rectangular grids.

The Polar Grid tool draws circular chart grids.

The Rectangle tool (M) draws squares and rectangles.

The Rounded Rectangle tool draws squares and rectangles with rounded corners.

The Ellipse tool (L) draws circles and ovals.

The Polygon tool draws regular, multi-sided shapes.

The Star tool draws stars. The Flare tool creates lensflare or solar-flare-like effects.

The Pencil tool (N) draws and edits freehand lines.

The Smooth tool smooths bezier paths.

The Erase tool erases paths and anchor points from the object.

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See also

“About the toolbox” on page 29

Drawing simple lines and shapes

To draw straight lines with the Line Segment tool

Use the Line Segment tool when you want to draw one straight line segment at a time.

Select the Line Segment tool .

Do one of the following:

•

Position the pointer where you want the line to begin, and drag to where you want the line to end.

•

Click where you want the line to begin, and specify the length and angle of the line. If you want to fill the line with the current fill color, select Fill Line. Then click OK.

See also

“Drawing tool gallery” on page 145

“Keys for drawing” on page 527

To draw rectangles

Select the Rectangle tool or the Rounded Rectangle tool .

Do one of the following:

•

Drag diagonally until the rectangle is the desired size.

•

Click where you want the top-left corner of the rectangle to be. Specify a width and height for the rectangle (and a corner radius for the rounded rectangle), and click OK.

Note:

To create a square, hold down the Shift key while dragging, or enter a value in the Width text box and then click on the word Height to copy that value into the Height box.

See also

“Drawing tool gallery” on page 145

“Keys for drawing” on page 527

To change the corner radius of a rounded rectangle

The corner radius determines the roundness of the rectangle’s corners.

•

To change the default corner radius, choose Edit> Preferences > General (Windows) or Illustrator > Preferences >

General (Mac OS), and enter a new value for Corner Radius. Alternatively, select the Rounded Rectangle tool, click in the document window, and enter a new value for Corner Radius. The default radius applies only to new rounded rectangles you draw, not to existing rounded rectangles.

•

To change the corner radius while dragging with the Rounded Rectangle tool, press the Up Arrow key or Down

Arrow key. When the corners are the desired roundness, release the key.

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•

To create square corners while dragging with the Rounded Rectangle tool, press the Left Arrow key.

•

To create the most rounded corners while dragging with the Rounded Rectangle tool, press the Right Arrow key.

To draw ellipses

Select the Ellipse tool .

Do one of the following:

•

Drag diagonally until the ellipse is the desired size.

•

Click where you want the top-left corner of the ellipse’s bounding box to be. Specify a width and height for the ellipse, and click OK.

Note:

To create a circle, hold down the Shift key while dragging, or if you are specifying dimensions, once you’ve entered a Width value you can click on the word Height to copy that value into the Height box.

See also

“Drawing tool gallery” on page 145

“Keys for drawing” on page 527

To draw polygons

Select the Polygon tool .

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.

Triangles are polygons too! You can draw one just as you would any other polygon.

See also

“Drawing tool gallery” on page 145

“Keys for drawing” on page 527

To draw stars

Select the Star tool .

Do one of the following:

•

Drag until the star is the desired size. Drag the pointer in an arc to rotate the star. Press the Up Arrow and Down

Arrow to add and remove points from the star.

•

Click where you want the center of the polygon to be. For Radius 1, specify the distance from the center of the star to the star’s innermost points. For Radius 2, specify the distance from the center of the star to the star’s outermost points. For Points, specify how many points you want the star to have. Then click OK.

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See also

“Drawing tool gallery” on page 145

“Keys for drawing” on page 527

To draw arcs

Select the Arc tool .

Do one of the following:

•

Position the pointer where you want the arc to begin, and drag to where you want the arc to end.

•

Click where you want the arc to begin. In the dialog box, click a square on the reference point locator to determine the point from which the arc is drawn. Then set any of the following options, and click OK.

Length X-Axis

Specifies the width of the arc.

Length Y-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 (

) axis or vertical (

) 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. A slope of 0 creates a straight line.

Fill Arc

Fills the arc with the current fill color.

Note:

To see a dynamic preview of the arc as you set options, double-click the arc tool in the toolbox.

See also

“Drawing tool gallery” on page 145

“Keys for drawing” on page 527

To draw spirals

Select the Spiral tool .

Do one of the following:

•

Drag until the spiral is the desired size. Drag the pointer in an arc to rotate the spiral.

•

Click where you want the spiral to begin. In the dialog box, set any of the following options, and click OK.

Radius

Specifies the distance from the center to the outermost point in the spiral.

Decay

Specifies the amount by which each wind of the spiral should decrease relative to the previous wind.

Segments

Specifies how many segments the spiral has. Each full wind of the spiral consists of four segments.

Style

Specifies the direction of the spiral.

See also

“Drawing tool gallery” on page 145

“Keys for drawing” on page 527

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To draw rectangular grids

Select the Rectangular Grid tool .

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.

Horizontal Dividers

Specifies the number of horizontal dividers you want to appear between the top and bottom of the grid. The Skew value determines how the horizontal dividers are weighted toward the top or bottom of the grid to the left or right side.

Vertical Dividers

Specifies the number of dividers you want to appear between the left and right sides of the grid.

The Skew value determines how the vertical dividers are weighted to the left or right side.

Use Outside Rectangle As Frame

Replaces the top, bottom, left, and right segments with a separate rectangular object.

Fill Grid

Fills the grid with the current fill color (otherwise, the fill is set to none).

See also

“Drawing tool gallery” on page 145

“Keys for drawing” on page 527

To draw circular (polar) grids

Select the Polar Grid tool .

Do one of the following:

•

Drag until the grid is the desired size.

•

Default Size

Specifies the width and height of the entire grid.

Concentric Dividers

Specifies the number of circular concentric dividers you want to appear in the grid. The Skew value determines how the concentric dividers are weighted toward the inside or outside of the grid.

Radial Dividers

Specifies the number of radial dividers you want to appear between the center and the circumference of the grid. The Skew value determines how the radial dividers are weighted counterclockwise or clockwise on the grid.

Create Compound Path From Ellipses

Converts the concentric circles into separate compound paths and fill every other circle.

Fill Grid

Fills the grid with the current fill color (otherwise, the fill is set to none).

See also

“Drawing tool gallery” on page 145

“Keys for drawing” on page 527

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Drawing with the Pencil tool

The Pencil tool lets you draw open and closed paths as if you were drawing with a pencil on paper. It is most useful for fast sketching or creating a hand-drawn look. Once you draw a path, you can immediately change it if needed.

Anchor points are set down as you draw with the Pencil tool; you do not determine where they are positioned.

However, you can adjust them once the path is complete. 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.

To draw freeform paths with the Pencil tool

Select the Pencil tool .

Position the tool where you want the path to begin, and drag to draw a path. The Pencil tool displays a small to x indicate drawing a freeform path.

As you drag, a dotted line follows the pointer. Anchor points appear at both ends of the path and at various points along it.

See also

“Drawing tool gallery” on page 145

“Pencil tool options” on page 153

To draw closed paths with the Pencil tool

Select the Pencil tool .

Position the tool where you want the path to begin, and start dragging to draw a path.

After you’ve begun dragging, hold down Alt (Windows) or Option (Mac OS). The Pencil tool displays a small circle to indicate you’re creating a closed path.

When the path is the size and shape you want, release the mouse button (but not the Alt or Option key). After the path closes, release the Alt or Option key.

See also

“Pencil tool options” on page 153

To add to a path with the Pencil tool

Select an existing path.

Select the Pencil tool .

Position the pencil tip on an endpoint of the path.

You can tell you’re close enough to the endpoint when the small

disappears.

Drag to continue the path.

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See also

“Pencil tool options” on page 153

To connect two paths with the Pencil tool

Select both paths.

Select the Pencil tool .

Position the tool where you want to begin from one path, and start dragging toward the other path.

After you’ve begun dragging, hold down Ctrl (Windows) or Command (Mac OS). The Pencil tool displays a small icon of an anchor point to indicate you’re adding to the existing path.

Drag onto the endpoint of the other path, release the mouse button, then release the Ctrl or Option 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.

See also

“Pencil tool options” on page 153

To reshape paths with the Pencil tool

Select the path you want to change.

Position the Pencil tool on or near the path to redraw.

You can tell you’re close enough to the path when the small

disappears from the tool.

Drag the tool until the path is the desired shape.

Using the Pencil tool to edit a closed shape

Note:

Depending on where you begin to redraw the path and in which direction you drag, you may get unexpected results. For example, you may unintentionally change a closed path to an open path, change an open path to a closed path, or lose a portion of a shape.

See also

“Pencil tool options” on page 153

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Pencil tool options

Double-click the Pencil tool to set any of the following options.

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 0.5 to 20 pixels; the higher the value, the smoother and less complex the path.

Smoothness

Controls the amount of smoothing that Illustrator applies when you use the tool. Smoothness can range from 0% to 100%; the higher the value, the smoother the path.

Fill New Pencil Strokes

Applies a fill to pencil strokes you draw after selecting this option, but not to existing pencil strokes. Remember to select a fill before you draw the pencil strokes. (See “To apply a color, pattern, or gradient to an object” on page 224.)

Keep Selected

Determines whether or not Illustrator keeps the path selected after you draw it.

Edit Selected Paths

Determines whether or not you can change an existing path with the Pencil tool.

Within:

pixels

Determines how close your mouse or stylus must be to an existing path in order to edit the path with the Pencil tool. This option is only available when the Edit Selected Paths option is selected.

Drawing with the Pen tool

To draw straight lines 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.

Select the Pen tool .

Position the Pen tool where you want the straight segment to begin, and click to define the first anchor point.

If direction lines appear, you accidentally dragged the Pen tool; choose Edit > Undo and click again.

Click again where you want the segment to end.

Continue clicking the Pen tool to create additional straight segments.

The last anchor point you add appears as a solid square, indicating that it is selected. Existing anchor points become deselected as you add more anchor points.

Complete the path by doing one of the following:

•

To close a path, position the pen pointer over the first (hollow) anchor point. A small circle appears next to the

Pen tool when it is positioned correctly. Click to close the path.

•

To leave the path open, Ctrl-click (Windows) or Command-click (Mac OS) anywhere away from all objects, choose Select > Deselect, or select a different tool in the toolbox.

See also

“Drawing tool gallery” on page 145

“Keys for drawing” on page 527

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To draw curves with the Pen tool

Select the Pen tool .

Position the Pen tool where you want the curve to begin, and press down the mouse button.

The first anchor point appears, and the Pen tool pointer changes to an arrowhead .

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.

A B C

Drawing the first point in a curve

Positioning Pen tool

Starting to drag (mouse button pressed)

Dragging to extend direction lines

Position the Pen tool where you want the curve segment to end, and do one of the following:

•

To create a “C”-shaped curve, drag in a direction opposite to the previous direction line. Then release the mouse button.

A B C

Drawing the second point in a curve

Starting to drag second smooth point

Dragging away from previous direction line, creating a “C” curve

Result after releasing mouse button

•

To create an “S”-shaped curve, drag in the same direction as the previous direction line. Then release the mouse button.

A B C

Drawing an S curve

Starting to drag new smooth point

Dragging in same direction as previous direction line, creating an “S” curve

Result after releasing mouse button

Continue dragging the Pen tool from different locations to create additional smooth points.

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Complete the path by doing one of the following:

•

To close the path, position the Pen tool over the first (hollow) anchor point. A small circle appears next to the Pen tool pointer when it is positioned correctly. Click or drag to close the path.

•

To leave the path open, Ctrl-click (Windows) or Command-click (Mac OS) anywhere away from all objects, choose Select > Deselect, or select a different tool in the toolbox.

Curves are easier to edit and your system can display and print them faster if you draw them using as few anchor points as possible. Using too many points can also introduce unwanted bumps in a curve. Instead, draw widely spaced anchor points, and practice shaping curves by adjusting the length and angles of the direction lines.

See also

“Keys for drawing” on page 527

To draw straight lines followed by curves

Using the Pen tool , click corner points in two locations to create a straight segment.

Position the Pen tool over the selected endpoint.

A convert anchor point icon appears next to the Pen tool when it is positioned correctly.

Drag to create a direction line and to set the slope of the curved segment you’ll create next. Then release the mouse button.

A B C

Drawing a straight segment followed by a mixed segment (part 1)

Straight segment completed

Positioning Pen tool over endpoint

Dragging direction point

Reposition the Pen tool where you want the curved segment to end, drag to complete the curve, and release the mouse button.

D E F

Drawing a straight segment followed by a mixed segment (part 2)

Repositioning the Pen tool

Dragging direction point

New curve segment completed

To draw curves followed by straight lines

Using the Pen tool, drag to create the first smooth point of the curved segment, and release the mouse button.

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Reposition the Pen tool where you want the curved segment to end, drag to complete the curve, and release the mouse button.

A B

Drawing a curved segment followed by a straight segment (part 1)

First smooth point of curved segment completed and Pen tool positioned over endpoint

Dragging to complete the curve

Position the Pen tool over the selected endpoint. A convert anchor point icon appears next to the Pen tool when it is positioned correctly. Click the anchor point to convert the smooth point to a corner point.

Reposition the Pen tool where you want the straight segment to end and click to complete the straight segment.

C D E

Drawing a curved segment followed by a straight segment (part 2)

Positioning Pen tool over existing endpoint

Clicking endpoint

Clicking next corner point

To draw two curved segments connected by a corner

Using the Pen tool, drag to create the first smooth point of a curved segment, and release the mouse button.

Reposition the Pen tool, drag to create a curve with a second smooth point, and release the mouse button.

Press Alt (Windows) or Option (Mac OS) and drag the direction point where the Pen tool was to set the slope of the next curve. Then release the key and the mouse button. This converts the smooth point to a corner point by splitting the direction lines.

A B C

Drawing two curves

Dragging a new smooth point

Pressing Alt/Option to split direction lines while dragging, and swinging direction point up

Result after releasing mouse button

Reposition the Pen tool where you want the second curved segment to end, and drag to complete the second curved segment.

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Reshaping paths

You can modify the shape of a path by moving any of its anchor points or by moving the direction points of direction lines attached to a curve segment.

Editing existing segments is slightly different from drawing them. Keep the following guidelines in mind as you adjust existing segments:

•

If an anchor point connects two segments, moving that anchor point always changes both segments.

•

When drawing with the Pen tool, you can temporarily activate the last-used selection tool by holding down Ctrl

(Windows) or Command (Mac OS) so that you can adjust segments you’ve already drawn.

•

When you draw a smooth point with the Pen tool, dragging the direction point changes the length of the direction line on both sides of the point. However, when you edit an existing smooth point with the Direct Selection tool, you change the length of the direction line only on the side you’re dragging.

Direction lines and direction points

When you select an anchor point connecting curved segments, the segments display

direction lines,

which end in

direction points.

The angle and length of the direction lines determine the shape and size of the curved segments.

Moving the direction points reshapes the curves. Direction lines don’t print.

After selecting an anchor point (left), direction lines appear on any curved segments connected by the anchor point (right).

A smooth point always has two direction lines that move together as a single, straight unit. When you drag the direction point of either direction line on a smooth point, both direction lines move 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. Corner point direction lines maintain the corner by using different angles. When you drag a direction point on a corner point’s direction line, the other direction line, if present, does not move.

Adjusting direction lines on a smooth point (left) and a corner point (right)

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Direction lines are always tangent to (perpendicular to the radius of) the curve at the anchor points. The angle of each direction line determines the slope of the curve, and the length of each direction line determines the height, or depth, of the curve.

Moving and resizing direction lines changes the slopes of curves.

You can show or hide anchor points, direction lines, and direction points by choosing View > Show Edges or View >

Hide Edges.

See also

“About paths” on page 144

To select anchor points

Do any of the following:

•

Make sure the path that contains the anchor points is not selected. Move the Direct Selection tool over the anchor point until the pointer displays a hollow square , and then click the anchor point. Shift+click additional anchor points to select them.

•

Select the Lasso tool , and drag around the anchor points. Shift+drag around additional anchor points to select them.

See also

“About paths” on page 144

“Selection tool gallery” on page 262

“Keys for selecting” on page 528

To 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.

•

Select the Lasso tool , and drag around part of the path segment. Shift+drag around additional path segments to select them.

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See also

“About paths” on page 144

“Selection tool gallery” on page 262

“Keys for selecting” on page 528

To select all anchor points and segments in a path

Select the Direct Selection tool or the Lasso tool .

Drag a marquee around the entire path.

If the path is closed and filled, you can also click inside the path with the Direct Selection tool.

See also

“About paths” on page 144

“Selection tool gallery” on page 262

“Selecting filled objects” on page 264

“Keys for selecting” on page 528

To change the length or angle of straight line segments

Select the anchor point on either end of the line segment.

With the Direct Selection tool , drag the anchor point to the desired position.

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.

See also

“To select anchor points” on page 158

To reshape curves

Select the anchor point on either end of the curved segment you want to adjust.

Direction lines appear on the selected anchor point, as well as on adjacent anchor points.

With the Direct Selection tool , drag the anchor point or a direction point.

See also

“To select anchor points” on page 158

“Direction lines and direction points” on page 157

To move anchor points using the keyboard

Select the anchor point.

Click or hold down any of the arrow keys on the keyboard to move a pixel at a time in the direction of the arrow.

Hold down the Shift key in addition to the arrow key to move the anchor point 10 pixels at a time.

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See also

“To select anchor points” on page 158

To stretch parts of a path without distorting its overall shape

Select the entire path.

Select the Reshape tool (located under the Scale tool ).

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.

Shift-click more anchor points or path segments to act as focal points. You can highlight an unlimited number of anchor points or path segments.

Drag the highlighted anchor points to adjust the path.

See also

“Reshaping tool gallery” on page 290

“To select all anchor points and segments in a path” on page 159

Adding, deleting, and converting anchor points

Using the Pen tool to add and delete anchor points

By default, the Pen tool automatically changes to the Add Anchor Point tool or the Delete Anchor Point tool as you position it over a selected path. This behavior allows you to add and delete anchor points without having to switch between tools.

To temporarily override automatic switching to the Add Anchor Point tool or Delete Anchor Point tool, hold down

Shift as you position the Pen tool over the selected path or an anchor point. This is useful when you want to start a new path on top of an existing path. To prevent Shift from constraining the Pen tool, release Shift before you release the mouse button.

To disable automatic switching to the Add Anchor Point tool or Delete Anchor Point tool, choose Edit >

Preferences > General (Windows) or Illustrator > Preferences > General (Mac OS), and select Disable Auto

Add/Delete.

To add anchor points to a path

Select the entire path to which you want to add anchor points.

Select the Pen tool or the Add Anchor Point tool .

Position the pointer over a path segment and click.

To automatically add anchor points to a path, select the object and choose Object > Path Add Anchor Points.

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See also

“Drawing tool gallery” on page 145

“To select all anchor points and segments in a path” on page 159

To delete anchor points from a path

Select the entire path from which you want to delete anchor points.

Select the Pen tool or the Delete Anchor Point tool .

Position the pointer over an anchor point and click.

See also

“Drawing tool gallery” on page 145

“To select all anchor points and segments in a path” on page 159

To find and delete stray anchor points

Stray anchor points are individual points that are not connected to other anchor points. It is a good practice to find and delete stray anchor points.

Deselect all objects.

Choose Select > Object > Stray Points.

Choose Edit > Cut or Edit > Clear commands, or press Delete or Backspace on the keyboard.

To convert between smooth points and corner points

Select the entire path you want to modify.

Select the Convert Anchor Point tool .

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.

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Clicking a smooth point to create a corner point

•

To convert a corner point without direction lines to a corner point with independent direction lines, first drag a direction point out of a corner point (making it a smooth point with direction lines). Release the mouse button only (don’t release any keys you may have pressed to activate the Convert Anchor Point tool), and then drag either direction point.

•

To convert a smooth point to a corner point with independent direction lines, drag either direction point.

Converting a smooth point to a corner point

See also

“About paths” on page 144

“Drawing tool gallery” on page 145

“Direction lines and direction points” on page 157

Smoothing and simplifying paths

To smooth paths

Select the object.

Select the Smooth tool .

Drag the tool along the length of the path segment you want to smooth out.

Continue smoothing until the stroke or path is the desired smoothness.

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A B C

Using the Smooth tool

Original path

Dragging across path with the Smooth tool

Result

See also

“Drawing tool gallery” on page 145

“Keys for editing shapes” on page 529

To change the amount of smoothing

Double-click the Smooth tool .

Set the following options, and click OK:

•

Fidelity to control 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 0.5 to 20 pixels; the higher the value, the smoother and less complex the path.

•

Smoothness to control the amount of smoothing that Illustrator applies when you use the tool. Smoothness can range from 0% to 100%; the higher the value, the smoother the path.

To simplify paths

Simplifying a path removes extra anchor points without changing the shape of the path. Removing unnecessary anchor points simplifies your artwork, reducing the file size, and making it display and print faster.

Select the object.

Choose Object > Path > Simplify.

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.

Select additional options, and click OK.

Simplify options

Curve Precision

Enter a value between 0% and 100% to set how closely the simplified path should follow the original path. A higher percentage creates more points and a closer fit. Any existing anchor points are ignored except for endpoints of a curve and corner points (unless you enter a value for Angle Threshold).

Angle Threshold

Enter a value between 0 and 180˚ to control the smoothness of corners. If the angle of a corner point is less than the angle threshold, the corner point is not changed. This option helps keep corners sharp, even if the value for Curve Precision is low.

Straight Lines

Creates straight lines between the object’s original anchor points. Corner points are removed if they have an angle greater than the value set in Angle Threshold.

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Show Original

Shows the original path behind the simplified path.

To average the position of anchor points

Select two or more anchor points (on the same path or on different paths).

Choose Object > Path > Average.

Choose to average along the horizontal (x) axis only, the vertical (y) axis only, or both axes, and click OK.

See also

“To select anchor points” on page 158

Erasing, splitting, and joining paths

To erase part of a path

Select the object.

Select the Erase tool .

Drag the tool along the length of the path segment you want to erase (not across the path). For best results, use a single, smooth, dragging motion.

Note:

You can not use the Erase tool on text or meshes.

See also

“Drawing tool gallery” on page 145

“Keys for editing shapes” on page 529

To split a path

Select the path to see its current anchor points.

Select the Scissors tool .

Click the path where you want to split it.

When you split the path in the middle of a segment, two new endpoints are coincident (one on top of the other), and one endpoint is selected.

When you split the path at an anchor point, a new anchor point appears on top of the original anchor point, and one anchor point is selected.

Use the Direct Selection tool to adjust the new anchor point or path segment.

See also

“Slicing and cutting tool gallery” on page 444

To join two endpoints

Select the endpoints.

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If the endpoints are coincident (on top of each other), drag a marquee through or around both endpoints to select them.

Choose Object > Path > Join.

If the endpoints are coincident, a dialog box appears to let you specify the type of join you want. Select the Corner option (the default) or the Smooth option, and click OK.

A B

Joining endpoints

Selecting and joining coincident endpoints

Selecting and joining noncoincident endpoints

See also

“To select anchor points” on page 158

Tracing artwork

About tracing artwork

There may be times when you want to base a new drawing on an existing piece of artwork. For example, you may want to create a graphic based on a pencil sketch drawn on paper or on a raster image saved in another graphics program. In either case, you can bring the graphic into Illustrator and trace over it.

The easiest way to trace artwork is to open or place a file into Illustrator and automatically trace the artwork with the

Live Trace command. You can control the level of detail and how the tracing is filled. When you are satisfied with the tracing results, you can convert the tracing to vector paths or a Live Paint object. (See “To automatically trace artwork” on page 165.)

Before and after tracing a bitmap image with the Live Trace command

You can also place any EPS, PDF, or raster image file into an Illustrator file as a template layer and trace over it manually using the Pen tool or Pencil tool. (See “About template layers” on page 169.)

To automatically trace artwork

Open or place a file to use as the source image for the tracing.

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With the source image selected, do one of the following:

•

To trace the image using a tracing preset, click the Tracing Presets And Options button in the Control palette, and select a preset.

•

To trace the image using the default tracing options, click Live Trace in the Control palette, or choose Object >

Live Trace > Make.

•

To set tracing options before you trace the image, click the Tracing Presets And Options button in the Control palette, and choose Tracing Options. Alternatively, choose Object > Live Trace > Tracing Options. Set tracing options, and then click Trace. (See “Tracing options” on page 167.)

(Optional) Adjust the results of the tracing. (See “To adjust the results of a tracing” on page 166.)

(Optional) Convert the tracing to paths or to a Live Paint object. (See “To convert a tracing object” on page 168.)

To change the display of a tracing object

A tracing object is made up of two components: the original source image and the tracing result (which is the vector artwork). By default, only the tracing result is visible. However, you can change the display of both the original image and the tracing result to best suit your needs.

Select the tracing object.

By default, all tracing objects are named “Tracing” in the Layers palette.

Do any of the following:

•

To change the display of the tracing result, click the Vector View button in the Control palette or choose

Object > Live Trace, and select a display option: No Tracing Result, Tracing Result, Outlines, or Outlines With

Tracing.

•

To change the display of the source image, click the Raster View button in the Control palette or choose

Object > Live Trace, and select a display option: No Image, Original Image, Adjusted Image (which displays the image with any adjustments that are applied during tracing), or Transparent Image.

Note:

In order to view the source image, you must first change the Vector View to No Tracing Result or Outlines.

To adjust the results of a tracing

Once you create a tracing object, you can adjust the results at any time.

Select the tracing object.

Do any of the following:

•

Set basic options in the Control palette.

•

Click the Tracing Options Dialog button in the Control palette to view all tracing options. Alternatively, choose Object > Live Trace > Tracing Options. Adjust the options, and click Trace.

Use tracing presets to quickly change the results of a tracing.

See also

“Tracing options” on page 167

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To control the colors in a tracing

Create a swatch library that contains the colors you want to use in the tracing. (See “To create swatch libraries” on page 194.)

Make sure that the swatch library is open, and click the Tracing Options Dialog button in the Control palette.

Alternatively, choose Object > Live Trace > Tracing Options.

Select the swatch library name from the Palette menu, and click Trace.

Tracing options

Preset

Specifies a tracing preset.

Mode

Specifies a color mode for the tracing result.

Threshold

Specifies a value for generating a black and white tracing result from the original image. All pixels lighter than the Threshold value are converted to white, all pixels darker than the Threshold value are converted to black.

(This option is available only when Mode is set to Black and White.)

Palette

Specifies a palette for generating a color or grayscale tracing from the original image. (This option is available only when Mode is set to Color or Grayscale.)

To let Illustrator determine the colors in the tracing, select Automatic. To use a custom palette for the tracing, select a swatch library name. (The swatch library must be open in order for it to appear in the Palette menu.) For additional instructions, see “To control the colors in a tracing” on page 167.

Max Colors

Specifies a maximum number of colors to use in a color or grayscale tracing result. (This option is available only when Mode is set to Color or Grayscale and when Palette is set to Automatic.)

Output To Swatches

Creates a new swatch in the Swatches palette for each color in the tracing result.

Blur

Blurs the original image before generating the tracing result. Select this option to reduce small artifacts and smooth jagged edges in the tracing result.

Resample

Resamples the original image to the specified resolution before generating the tracing result. This option is useful for speeding up the tracing process for large images but can yield degraded results.

Note:

The resample resolution is not saved when you create a preset.

Fills

Creates filled regions in the tracing result.

Strokes

Creates stroked paths in the tracing result.

Max Stroke Weight

Specifies the maximum width of features in the original image that can be stroked. Features larger than the maximum width become outlined areas in the tracing result.

Min Stroke Length

Specifies the minimum length of features in the original image that can be stroked. Features smaller than the minimum length are omitted from the tracing result.

Path Fitting

Controls the distance between the traced shape and the original pixel shape. 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. For example, a value of 4 specifies that features smaller than 2 pixels wide by 2 pixels high will be omitted from the tracing result.

Corner Angle

Specifies the sharpness of a turn in the original image that is considered a corner anchor point in the tracing result. For more information on the difference between a corner anchor point and a smooth anchor point, see “About paths” on page 144.

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Raster

Specifies how to display the bitmap component of the tracing object. (See “To change the display of a tracing object” on page 166.)

Vector

Specifies how to display the tracing result. (See “To change the display of a tracing object” on page 166.)

Select Preview in the Tracing Options dialog box to preview the result of the current settings.To set the default tracing options, deselect all objects before you open the Tracing Options dialog box. When you’re finished setting options, click Set Default.

To create a tracing preset

•

Choose Object > Live Trace > Tracing Options. (Alternatively, select a tracing object, and click the Tracing

Options Dialog button in the Control palette.) Set tracing options for the preset, and click Save Preset. Enter a name for the preset, and click OK.

•

Choose Edit > Tracing Presets. Click New, set tracing options for the preset, and click Done.

To base a new preset on an existing preset, select the preset, and click New.

To manage tracing presets

Choose Edit > Tracing Presets.

Do any of the following:

•

To edit or delete a preset, select the preset, and click Edit or Delete.

Note:

You can’t edit or delete the default presets (default presets appear in brackets [ ]). However, you can make an editable copy of a default preset by selecting the preset and clicking New.

•

To share presets with other users, click Export to save your presets to a file. Click Import to load presets from a file.

To convert a tracing 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.

Select the tracing object.

Do one of the following:

•

To convert the tracing to paths, click Expand in the Control palette or choose Object > Live Trace > Expand. Use this method if you want to work with the components of the traced artwork as individual objects. The resulting paths are grouped together. (See “About paths” on page 144.)

•

To convert the tracing to paths while preserving the current display options, choose Object > Live Trace > Expand

As Viewed. For example, if the display options are set to Outlines for the tracing result, then the expanded paths will be outlines only (rather than filled and stroked). In addition, a snapshot of the tracing with its current display options is preserved and grouped with the expanded paths. Use this method if you want to preserve the tracing image as a guide for the expanded paths.

•

To convert the tracing to a Live Paint object, click Live Paint in the Control palette or choose Object > Live Trace >

Convert To Live Paint. Use this method if you want to apply fills and strokes to the traced artwork using the Live

Paint Bucket tool. (See “About Live Paint” on page 228.)

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To create a tracing and convert the tracing object in one step, choose Object > Live Trace > Make And Expand or

Object > Live Trace > Make And Convert To Live Paint.

To release a tracing object

If you want to discard a tracing but keep the original placed image, you can release the tracing object.

Select the tracing object.

Choose Object > Live Trace > Release.

Template layers

About 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.

Once you create a template layer, use the Pen tool or Pencil tool to manually trace over the image. Tracing images manually is an excellent way to improve your Pen tool skills. However, you will find it much easier to trace images automatically using the Live Trace command.

See also

“To automatically trace artwork” on page 165

To create a template layer

Do any of the following:

•

Choose New Layer from the Layers palette menu, or double-click the name of an existing layer. In the Layer

Options dialog box, select Template, and click OK.

•

Select a layer listing to be a template, and choose Template from the Layers palette menu.

•

Choose File > Place, select the file you want to place, click Template, and click Place. A new template layer appears below the current layer in the palette.

The eye icon is replaced by the template icon , and the layer is locked.

To work with template layers

•

To turn a template layer into a regular layer, double-click the name of the template layer in the Layers palette, deselect Template, and click OK.

•

To show or hide a template layer, choose View > Show Template or View > Hide Template.

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Symbols

About symbols

symbol

is an art object that you can reuse in a document. For example, if you create a symbol from a flower, you can then add

instances

of that symbol multiple times to your artwork without actually adding the complex art multiple times. Each symbol instance is linked to the symbol in the Symbols palette or a symbols library. Using symbols can save you time and greatly reduce file size. Symbols also provide excellent support for SWF and SVG export.

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.

Artwork with symbol instances

Symbol libraries and the Symbols palette

Symbol libraries

are collections of preset symbols, available from the Window > Symbol Libraries submenu or the

Open Symbol Library submenu in the Symbols palette menu.

When you open a symbol library, it appears in a new palette (not the Symbols palette). You select, sort, and view items in a symbol library the same as you do in the Symbols palette. However, you can’t add items to, delete items from, or edit the items in symbol libraries.

To automatically open a library when you start Illustrator, choose Persistent from the library’s palette menu.

You use the Symbols palette to manage the symbols for a document. By default, the Symbols palette contains a variety of preset symbols. You can add symbols from symbol libraries or libraries that you create. You display the Symbols palette by choosing Window > Symbols.

You can rearrange, duplicate, rename, and otherwise manage symbols using the Symbols palette. Choose Duplicate

Symbol or Symbol options from the palette menu to respectively duplicate or rename a symbol.

Note:

You can also double-click the symbol to rename it, or drag a symbol onto the New Symbol button in the palette to create a copy.

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You can move selected symbols in symbol libraries into the Symbols palette simply by dragging, or by using the Add

To Symbols command from the Symbols palette menu. Additionally, a symbol is automatically added to the Symbols palette whenever you use it in a document.

Do any of the following to change how symbols are listed in the Symbols palette:

•

Select a view option from the palette menu: Thumbnail View to display thumbnails, Small List View to display a list of named symbols with a small thumbnail, or Large List View to display a list of named symbols along with a large thumbnail.

•

Drag the symbol to a different position. When a black line appears in the desired position, release the mouse button.

•

Select Sort By Name from the palette menu to list the symbols in alphabetical order.

To place a symbol

Select a symbol in the Symbols palette or a symbol library.

Do one of the following:

•

Click the Place Symbol Instance button artboard.

in the Symbols palette to place the instance in the center of the

•

Drag the symbol to the artboard where you want it to appear.

•

Choose Place Symbol Instance from the Symbols palette menu.

Note:

A single symbol placed anywhere in your artwork (as opposed to existing only in the palette) is called an instance.

To duplicate a symbol on the artboard

Select the symbol instance.

Do one of the following:

•

Alt-drag (Windows) or Option-drag (Mac OS) the symbol instance to another location on the artboard.

•

Copy and paste the symbol instance.

To select all instances of a symbol in the document

❖

Select a symbol in the Symbols palette, and then choose Select All Instances from the palette menu.

Modifying symbol instances

You can move, scale, rotate, shear (or skew), or reflect symbol instances as you do other objects. You can also perform any operation from the Transparency, Appearance, and Graphic Styles palettes and apply any effect from the Effect menu. However, if you want to modify the individual components of a symbol instance, you must first

expand

it.

This breaks the link between the symbol and the symbol instance.

After you modify a symbol instance, you can redefine the original symbol in the Symbols palette. When you redefine a symbol, all existing symbol instances take on the new definition.

To modify and redefine a symbol

Select an instance of the symbol.

Click the Break Link To Symbol button in the Symbols palette.

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Edit and select the artwork.

Do one of the following:

•

Make sure the symbol you want to redefine is selected in the Symbols palette, and choose Redefine from the

Symbols palette menu.

•

Alt-drag (Windows) or Option-drag (Mac OS) the modified symbol on top of the old symbol in the Symbols palette. The symbol is replaced in the Symbols palette and is updated in the current file.

To expand symbol instances

Select one or more symbol instances.

Do one of the following:

•

Click the Break Link to Symbol button palette menu.

in the Symbols palette, or choose Break Link to Symbol from the

•

Choose Object > Expand.

Illustrator places the components of the symbol instance in a group.

See also

“Expand options” on page 285

To associate a new symbol with an instance

Select the symbol instance on the artboard.

Select a new symbol in the Symbols palette.

Do one of the following:

•

Click the Replace Symbol button .

•

Choose Replace Symbol from the Symbols palette menu.

To create symbols

You can create symbols from most Illustrator objects, including paths, compound paths, text, raster images, mesh objects, and groups of objects. However, you cannot use linked art to create a symbol, nor can you use some groups, such as groups of graphs.

Select the artwork you want to use as a symbol.

Do one of the following:

•

Drag the artwork to the Symbols palette. Press Shift as you drag if you want the selected artwork to become an instance of the newly created symbol.

•

Click the New Symbol button in the Symbols palette.

•

Choose New Symbol from the palette menu.

To create symbol libraries

Add the symbols you want to the Symbols palette, and delete any symbols you don’t want.

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To select all symbols that aren’t used in a document, choose Select All Unused from the Symbols palette menu.

Choose Save Symbol Library from the Symbols palette menu.

You can save the library anywhere. However, if you save the library file in the default location, the library name will appear in the Symbol Libraries submenu and the Open Symbol Library submenu when you restart Illustrator.

To import all symbols from another document

Choose Window > Symbol Libraries > Other Library or choose Open Symbol Library > Other Library from the

Symbols palette menu.

Select the file from which you want to import symbols, and click Open.

The symbols appear in a symbol library palette (not the Symbols palette).

Sets of symbols

About symbol sets

symbol set

is a group of symbol instances that you create with the Symbol Sprayer tool. You can create mixed sets of symbol instances by using the Symbol Sprayer tool with one symbol and then using it again with another symbol.

Artwork created with the symbolism tools

As you work with symbol sets, keep in mind that the symbolism tools affect only the symbol or symbols selected in the Symbols palette. For example, if you create a mixed symbol instance set that represents a meadow with grass and flowers, you can change the orientation of just the grass by selecting the grass symbol in the Symbols palette and then using the Symbol Spinner tool. To change the size of both the grass and the flowers, select both symbols in the

Symbols palette and then use the Symbol Sizer tool.

Note:

When you select a mixed symbol set on the artboard, the symbol instance most recently added to the set is automatically selected in the Symbols palette.

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Symbolism tool gallery

The symbolism tools let you create and modify sets of symbol instances. You create a symbol set using the Symbol

Sprayer tool. You can then use the other symbolism tools to change the density, color, location, size, rotation, trans parency, and style of the instances in the set.

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 The Symbol Sizer tool resizes moves symbol instances symbol instances.

closer together.

The Symbol Spinner tool rotates symbol instances.

The Symbol Stainer tool colorizes symbol instances.

The Symbol Screener tool applies opacity to symbol instances.

The Symbol Styler tool applies the selected style to symbol instances.

See also

“About the toolbox” on page 29

To set options for the symbolism tools

Double-click any symbolism tool in the toolbox.

Set options, and click OK.

General options, such as diameter, intensity, and density, appear at the top of the dialog box. Tool-specific options appear at the bottom of the dialog box. To switch to options for a different tool, click a tool icon in the dialog box.

General options

The General options appear at the top of the Symbolism Tools Options dialog box regardless of which symbolism tool is selected.

•

Diameter

Specifies the tool’s brush size.

At any time while using a symbolism tool, press [ to decrease the diameter or ] to increase it. Press Shift+[ to decrease the intensity or Shift+] to increase it.

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•

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. If a symbol set is selected, the density changes for all symbol instances in the set, not just newly created instances.

•

Method

instances.

Specifies how the Symbol Scruncher, Sizer, Spinner, Stainer, Screener, and Styler tools adjust symbol

Select User Defined to gradually adjust symbols in relation to the position of the cursor. Select Random to modify the symbols randomly in the area under the cursor. Select Average to gradually smooth out the symbol values.

•

Show Brush Size And Intensity

Displays the size as you use the tool.

Symbol Sprayer options

The Symbol Sprayer options (Scrunch, Size, Spin, Screen, Stain, and Style) appear under the

General options in the Symbolism Tools Options dialog box only when the Symbol Sprayer tool is selected, and control how new symbol instances are added to symbol sets. Each of these offers two choices:

•

Average

To add a new symbol with the average value of existing symbol instances within the brush radius. For example, an instance added to an area where the average existing symbol instance is 50% transparent will be 50% transparent; an instance added to an area with no instances will be opaque.

Note:

The Average setting only takes into account other instances within the Symbol Sprayer tool’s brush radius, which you set using the Diameter option. To see the radius as you work, select Show Brush Size and Intensity.

•

User Defined

To apply specific preset values for each parameter: Scrunch (density) is based on the original symbol size; Size uses the original symbol size; Spin uses the mouse direction (or no orientation if the mouse doesn’t move);

Screen uses 100% opacity; Stain uses the current fill color and full tint amount; Style uses the current style.

Symbol Sizer options

The Symbol Sizer options appear under the General options in the Symbolism Tools Options dialog box only when the Symbol Sizer tool is selected.

•

Proportional Resizing

Keep each symbol instance shape uniform as you resize.

•

Resizing Affects Density

Move symbol instances away from each other when they are scaled up and move them toward each other when they are scaled down.

To create a set of symbol instances

Select a symbol in the Symbols palette, and then select the Symbol Sprayer tool

Click or drag where you want the symbol instances to appear.

See also

“Symbolism tool gallery” on page 174

“To set options for the symbolism tools” on page 174

To add or delete symbol instances from an existing set

Select the existing symbol set.

Select the Symbol Sprayer tool and a symbol in the Symbols palette.

Do one of the following:

•

To add symbol instances, click or drag where you want the new instances to appear.

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•

To delete symbol instances, hold down Alt (Windows) or Option (Mac OS) as you click or drag where you want to remove instances.

See also

“To set options for the symbolism tools” on page 174

To move or change the stacking order of symbol instances

Select the Symbol Shifter tool .

Do one of the following:

•

To move symbol instances, drag in the direction you want the symbol instances to move.

•

To bring symbol instances forward, Shift-click the symbol instance.

•

To send symbol instances backward, hold down Alt (Windows) or Option (Mac OS) and Shift-click the symbol instance.

See also

“Symbolism tool gallery” on page 174

“To set options for the symbolism tools” on page 174

To pull symbol instances together or apart

Select the Symbol Scruncher tool .

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.

See also

“Symbolism tool gallery” on page 174

“To set options for the symbolism tools” on page 174

To change the size of symbol instances

Select the Symbol Sizer tool .

Do one of the following:

•

Click or drag in the set where you want to increase the size of the symbol instances.

•

Hold down Alt (Windows) or Option (Mac OS), and click or drag where you want to decrease the size of the symbol instances.

•

Hold down Shift as you click or drag to preserve the density of the symbol instances while resizing.

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See also

“Symbolism tool gallery” on page 174

“To set options for the symbolism tools” on page 174

To rotate symbol instances

Select the Symbol Spinner tool .

Click or drag in the direction you want the symbol instances to orient.

See also

“Symbolism tool gallery” on page 174

“To set options for the symbolism tools” on page 174

To stain symbol instances

Staining a symbol instance changes the hue toward the tint color, while preserving the original luminosity. (It works in the same way as the Tints and Shades colorization method of tinting brushes.) This method uses the luminosity of the original color and the hue of the colorization color to generate the resulting color. Consequently, colors with very high or very low luminosity change very little; black or white objects don’t change at all.

To achieve a method of colorization that will also affect black and white objects, use the Symbol Styler tool with a graphic style that uses the desired fill color.

In the Color palette, select the fill color that you want to use as the colorization color.

Select the Symbol Stainer tool and do one of the following:

•

Click or drag over the symbol instances you want to stain with the colorization color. The amount of colorization gradually increases, and the symbol instance’s color gradually changes to the colorization color.

•

Hold down Alt (Windows) or Option (Mac OS) as you click or drag to decrease the colorization amount and reveal more of the original symbol color.

•

Hold down Shift as you click or drag to keep the colorization amount constant, while gradually changing the color of the symbol instances to the colorization color.

Note:

Using the Symbol Stainer tool results in increased file size and decreased performance. When memory or exported

Flash/SVG file size is a concern, do not use this tool.

See also

“Symbolism tool gallery” on page 174

“To set options for the symbolism tools” on page 174

To adjust the transparency of symbol instances

Select the Symbol Screener tool .

Do one of the following:

•

Click or drag where you want to increase the symbol’s transparency.

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•

Hold down Alt (Windows) or Option (Mac OS), and click or drag where you want to decrease the symbol’s trans parency.

See also

“Symbolism tool gallery” on page 174

“To set options for the symbolism tools” on page 174

To 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.

Graphic style applied at full strength (top) compared to graphic style applied at varying strengths (bottom)

You can switch to the Symbol Styler tool when using any other symbolism tool by clicking a style in the Graphic Styles palette.

Select the Symbol Styler tool .

Select a style in the Graphic Styles palette, and do one of the following:

•

Click or drag where you want to apply the style to the symbol set. The amount of style applied to the symbol instances increases, and the style gradually changes.

•

Hold down Alt (Windows) or Option (Mac OS) as you click or drag to decrease the style amount and reveal more of the original, unstyled symbol.

•

Hold down Shift as you click or drag to keep the amount of style constant, while gradually changing the symbol instance style to the selected style.

Note:

It is very important to perform steps 1 and 2 in the specified order. If you select a style while a tool other than the symbolism tool is selected, the style will apply immediately to the entire selected symbol instance set.

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See also

“Symbolism tool gallery” on page 174

“To set options for the symbolism tools” on page 174

Drawing flares

About flares

The Flare tool creates flare objects with a bright center, a halo, and rays and rings. Use this tool to create an effect similar to a lens flare in a photograph.

Flares include a center handle and an end handle. Use the handles to position the flare and its rings. The center handle is in the bright center of the flare—the flare path begins from this point.

C D E

Components of a flare

Center handle

End handle

Rays (shown black for clarity)

Halo

Rings

To create a flare using the default settings

Select the Flare tool .

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.

See also

“Drawing tool gallery” on page 145

To draw a flare

Select the Flare tool.

Press the mouse button down to place the center handle of the flare, then drag to set the size of the center, the size of the halo, and to rotate the angle of the rays.

Before releasing the mouse, press Shift to constrain the rays to a set angle. Press Up Arrow or Down Arrow to add or subtract rays. Press Ctrl (Windows) or Command (Mac OS) to hold the center of the flare constant.

Release the mouse when the center, halo, and rays are as desired.

Press and drag again to add rings to the flare and place the end handle.

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Before releasing the mouse, Press Up Arrow or Down Arrow to add or subtract rings. Press the tilde (~) key to randomly place the rings.

Release the mouse when the end handle is in the desired location.

Each element (center, halo, rings, and rays) in the flare is filled with color at different opacity settings.

To create a flare using the Flare Tool Options dialog box

Select the Flare tool, and click where you want to place the center handle of the flare.

In the Flare Tool Options dialog box, do any of the following options, and click OK:

•

Specify the overall diameter, opacity, and brightness of the flare’s center.

•

Specify the Growth of the halo as a percentage of the overall size, and specify the fuzziness of the halo (0 is crisp and 100 is fuzzy).

•

If you want the flare to contain rays, select Rays and specify the number of rays, the longest ray (as a percentage of the average ray), and the fuzziness of the rays (0 is crisp and 100 is fuzzy).

•

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.

To 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. Change settings in the dialog box.

To reset a flare to the default values, hold down Alt (Windows) or Option (Mac OS), and click Reset.

•

Select the flare and the Flare tool. Drag an endpoint—from either the center handle or the end handle—to change the length or direction of the flare.

•

Select the flare, and choose Object > Expand. This makes the elements of the flare editable, like elements of blends.

(See “Expanding objects” on page 284.)

Chapter 8: Color

About color

About colors in digital graphics

We use color models to describe the colors we see and work with in digital graphics. Each color model, such as RGB,

CMYK, or HSB, represents a different method for describing and classifying color. Color models use numeric values to represent the visible spectrum of color. A

color space

is a variant of a color model and has a specific

gamut

(range) of colors. For example, within the RGB color model are a number of color spaces: Adobe RGB, sRGB, and Apple

RGB. While each of these color spaces defines color using the same three axes (R, G, and B), their gamuts are different.

When you work with the colors in a graphic, you are actually adjusting numerical values in the file. It’s easy to think of a number as a color, but these numerical values are not absolute colors in themselves—they only have a color meaning within the color space of the device that is producing the color.

Because each device has its own color space, it can reproduce colors only in its gamut. When an image moves from one device to another, image colors may change because each device interprets the RGB or CMYK values according to its own color space. For example, it is impossible for all the colors viewed on a monitor to be identically matched in a print from a desktop printer. A printer operates in a CMYK color space, and a monitor operates in an RGB color space. Their gamuts are different. Some colors produced by inks cannot be displayed on a monitor, and some colors that can be displayed on a monitor cannot be reproduced using inks on paper.

Even though it is impossible to perfectly match all colors on different devices, you can use color management to ensure that most colors are the same or similar enough so they appear consistent.

See also

“About color management in Adobe applications” on page 200

“To synchronize color settings across Adobe applications” on page 202

About RGB

A large percentage of the visible spectrum can be represented by mixing red, green, and blue (RGB) colored light in various proportions and intensities. Where the colors overlap, they create cyan, magenta, and yellow.

RGB colors are called

additive colors

because you create white by adding R, G, and B together—that is, all light is reflected back to the eye. Additive colors are used for lighting, television, and computer monitors. Your monitor, for example, creates color by emitting light through red, green, and blue phosphors.

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Additive colors (RGB)

Red

Green

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. When the value of all components is 255, the result is pure white; when all components have values of 0, the result is pure black.

Illustrator also includes a modified RGB color mode called

Web Safe RGB

, which includes only those RGB colors that are appropriate for use on the web.

See also

“To change the color mode of a document” on page 185

About CMYK

Whereas the RGB model depends on a light source to create color, the CMYK model is based on the light-absorbing quality of ink printed on paper. As white light strikes translucent inks, a portion of the spectrum is absorbed. Color that is not absorbed is reflected back to your eye.

Combining pure cyan (C), magenta (M), and yellow (Y) pigments would result in black by absorbing, or subtracting, all colors. For this reason they are called

subtractive colors

. Black (K) ink is added for better shadow density. (The letter

came into use because black is the “key” color for registering other colors, and because the letter B also stands for blue.) Combining these inks to reproduce color is called

four-color process printing

C M Y K

Subtractive colors (CMYK)

Cyan

Magenta

Yellow

Black

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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. In CMYK objects, low ink percentages are closer to white, and high ink percentages are closer to black.

Use CMYK when preparing a document to be printed using process inks.

See also

“To change the color mode of a document” on page 185

About HSB

Based on the human perception of color, the HSB model describes three fundamental characteristics of color:

Hue

Color reflected from or transmitted through an object. It is measured as a location on the standard color wheel, expressed as a degree between 0˚ and 360˚. In common use, hue is identified by the name of the color, such as red, orange, or green.

Saturation

Strength or purity of the color (sometimes called

chroma

). Saturation represents the amount of gray in proportion to the hue, measured as a percentage from 0% (gray) to 100% (fully saturated). On the standard color wheel, saturation increases from the center to the edge.

Brightness

Relative lightness or darkness of the color, usually measured as a percentage from 0% (black) to 100%

(white).

100

0 360

100

S B

HSB color model

Hue

Saturation

Brightness

See also

“To adjust the saturation of multiple colors” on page 196

About Lab

The CIE L*a*b* color model (Lab) is based on the human perception of color. It is one of several color models produced by the Commission Internationale d’Eclairage (CIE), an organization dedicated to creating standards for all aspects of light.

The numeric values in Lab describe all the colors that a person with normal vision sees. Because Lab describes how a color looks rather than how much of a particular colorant is needed for a device (such as a monitor, desktop printer, or digital camera) to produce colors, Lab is considered to be a

device-independent

color model. Color management systems use Lab as a color reference to predictably transform a color from one color space to another color space.

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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

“To display and output spot colors using Lab values” on page 189

About 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.

Grayscale also lets you convert color artwork to high-quality black-and-white artwork. In this case, Adobe Illustrator discards all color information in the original artwork; the gray levels (shades) of the converted objects represent the luminosity of the original objects.

When you convert grayscale objects to RGB, the color values for each object are assigned that object’s previous gray value. You can also convert a grayscale object to a CMYK object.

See also

“To convert colors to grayscale” on page 195

“To convert grayscale images to RGB or CMYK” on page 196

About color spaces and gamuts

color space

is a range of colors in the visible spectrum. A color space can also be a variant of a

color model

. Adobe

RGB, Apple RGB, and sRGB are examples of different color spaces based on the same color model.

Gamuts of different color spaces

Visual gamut

RGB color space

CMYK color space

The range of color encompassed by a color space is called a gamut. The different devices (computer monitor, scanner, desktop printer, printing press, digital camera) throughout your workflow operate within different color spaces and each with different gamuts. Some colors within the gamut of your computer monitor are not within the gamut of your inkjet printer, and vice versa. When a color cannot be produced on a device, it’s considered to be outside the color space of that particular device. In other words, the color is

out of gamut

See also

“To shift an out-of-gamut color to a printable color” on page 187

“Why colors sometimes don’t match” on page 198

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To change the color mode of a document

❖

Choose File > Document Color Mode > CMYK Color or RGB Color.

Note:

Most raster effects in Illustrator can only be applied while you are in RGB mode.

Selecting colors

To use the Color Picker

The Color Picker lets you select an object’s fill or stroke color by choosing from a color spectrum, defining colors numerically, or clicking a swatch.

A B C D

E F G H I

Color Picker

Color spectrum

HSB color values

Current color

Previous color

Color slider triangles

Color slider

RGB color values

Hexadecimal color value

CMYK color values

❖

Do one of the following:

•

To display the Color Picker, double-click the fill or stroke color selection box in the toolbox or Color palette.

•

To change the color spectrum displayed in the Color Picker, click a letter: H (Hue), S (Saturation), B (Brightness),

R (Red), G (Green), or B (Blue).

•

To display only web-safe colors (that is, colors used by all web browsers regardless of the platform), select Only

Web Colors.

•

To view color swatches instead of the color spectrum, click Color Swatches. Click Color Models to return to view the color spectrum.

See also

“About colors in digital graphics” on page 181

To select colors using the Color Picker

Do any of the following:

•

Click or drag inside the color spectrum. A circular marker indicates the color’s position in the spectrum.

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•

Drag the triangles along the color slider or click inside the color slider.

•

Enter values in any of the text boxes

•

Click Color Swatches, select a swatch, and click OK.

To work with the Color palette

You use the Color palette to apply color to an object’s fill and stroke, and also to edit and mix colors. The Color palette can display color values using different color models. By default, only the most commonly used options are visible in the Color palette.

A B C

D E F G

Color palette

Fill color

Stroke color

Palette menu

None box

Color spectrum bar

Color slider

Text box for a color component

•

To display the palette, choose Window > Color.

•

To change the color model, select Grayscale, RGB, HSB, CMYK, or Web Safe RGB from the palette menu.

•

To show all options in the palette, select Show Options from the palette menu. Alternatively, click the double triangle on the palette’s tab to cycle through the display sizes.

See also

“About colors in digital graphics” on page 181

“To work with palettes” on page 31

To select colors using the Color palette

Select the color mode you want to use from the palette menu. The mode you select affects only the display of the

Color palette; it does not change the color mode of the document.

Do one of the following:

•

Drag or click in a slider.

•

Shift-drag a color slider to move the other sliders in relation to it (except for HSB sliders). This keeps a similar color but with a different tint or intensity.

•

Enter values in any of the text boxes.

•

Click in the color spectrum bar at the bottom of the palette. To select no color, click the None box at the left of the color bar; to select white, click the white swatch at the top right corner of the color bar; to select black, click the black swatch at the bottom right corner of the color bar.

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To change a color to its inverse or complement

Select the color you want to change.

In the Color palette, select an option from the palette menu:

Invert

Changes each component of a color to the opposite value on the color scale. For example, if an RGB color has an R value of 100, the Invert command will change the R value to 155 (255 – 100 = 155).

Complement

Changes each component of a color to a new value based on the sum of the highest and lowest RGB values in the selected color. Illustrator adds the lowest and highest RGB values of the current color, and then subtracts the value of each component from that number to create new RGB values. For example, suppose you select a color with an RGB value of 102 for red, 153 for green, and 51 for blue. Illustrator adds the high (153) and low (51) values, to end up with a new value (204). Each of the RGB values in the existing color is subtracted from the new value to create new complementary RGB values: 204 – 102 (the current red value) = 102 for the new red value, 204 – 153 (the current green value) = 51 for the new green value, and 204 – 51 (the current blue value) = 153 for the new blue value.

To invert multiple colors

Select the objects whose colors you want to invert.

Choose Filter > Colors > Invert Colors.

You can use the Color palette to invert individual colors.

To shift an out-of-gamut color to a printable color

Some colors in the RGB and HSB color models, such as neon colors, cannot be printed, because they have no equiv alents in the CMYK model. If you select an out-of-gamut color, an alert triangle appears in the Color palette or

Color Picker.

❖

Click the triangle to shift to the closest CMYK equivalent (which is displayed below the triangle).

See also

“About color spaces and gamuts” on page 184

To 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 web-safe, an alert cube appears in the Color palette or Color Picker.

❖

Click the cube to shift to the closest web-safe color (which is displayed below the cube).

See also

“About web graphics” on page 442

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Using and creating swatches

About swatches

Swatches

are named colors, tints, gradients, and patterns. The swatches associated with a document appear in the

Swatches palette. In addition, you can open libraries of swatches from other Illustrator documents and various color systems. Swatch libraries appear in separate palettes and are not saved with the document.

The Swatches palette and swatch library palettes can contain the following types of swatches:

Process colors

A process color is printed using a combination of the four standard process inks: cyan, magenta, yellow, and black. By default, Illustrator defines new swatches as process colors. (See “About process colors” on page 190.)

Global process colors

A global color is automatically updated throughout your artwork when you edit it. All spot colors are global; however, process colors can be either global or local. You can identify global color swatches by the global color icon (when the palette is in list view) or a triangle in the lower corner (when the palette is in thumbnail view).

Spot colors

A spot color is a premixed ink that is used instead of, or in addition to, CMYK process inks. You can identify spot-color swatches by the spot-color icon (when the palette is in list view) or a dot in the lower corner

(when the palette is in thumbnail view). (See “About spot colors” on page 191.)

Tints

A tint is a global process color or spot color with a modified intensity. Tints of the same color are linked together, so that if you edit a tint swatch, all associated tint swatches (and the objects painted with those swatches) are also changed. Tint swatches are identified by a percentage (when the palette is in list view).

Gradients

A gradient is a graduated blend between two or more colors or tints of the same color. Gradient colors can be assigned as CMYK process colors, RGB colors, or a spot color.

Patterns

Patterns are repeating (tiled) paths, compound paths, or text with solid fills or no fill, or are designed from scratch with any of the tools in Illustrator.

None

The None swatch removes the stroke or fill from an object. You can’t edit or remove this swatch.

Registration

The registration swatch is a built-in swatch that causes objects filled or stroked with it to print on every separation from a PostScript printer. For example, registration marks use the Registration color so that printing plates can be aligned precisely on a press. You can’t remove this swatch.

Note:

If you use the Registration color for type, and then you separate the file and print it, the type may not register properly and the black ink may appear muddy. To avoid this, use black ink instead for type.

About swatch libraries

Swatch libraries

are collections of preset colors, including PANTONE®, HKS, Trumatch, FOCOLTONE, DIC, TOYO, and web colors. To open a swatch library, select it from the Window > Swatch Libraries submenu or the Open Swatch

Library submenu in the Swatches palette menu.

When you open a swatch library, it appears in a new palette (not the Swatches palette). You select, sort, and view swatches in a swatch library the same as you do in the Swatches palette. However, you can’t add swatches to, delete swatches from, or edit the swatches in swatch libraries.

To make a swatch library appear each time Illustrator is started, select Persistent from the swatch library’s palette menu.

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See also

“To create swatch libraries” on page 194

“To share swatches between applications” on page 204

To display and output spot colors using Lab values

Some predefined spot colors, such as colors from the TOYO, PANTONE, DIC, and HKS libraries, are defined using

Lab values. For backward compatibility with previous versions of Illustrator, colors from these libraries also include

CMYK definitions. The Swatches palette lets you control which values Illustrator uses to display, export, and print these spot colors: Lab or CMYK.

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. It also uses Lab values when printing if you’ve selected Simulate Overprint in the Output panel of the Print dialog box.

Choose Spot Colors from the Swatches palette menu.

Do one of the following:

•

Select Use Standard Lab Values Specified By The Book Manufacturer if you want the most accurate display and output of colors.

•

Select Use CMYK Values From The Manufacturer’s Process Book if you want spot colors to match earlier versions of Illustrator.

See also

“About Lab” on page 183

To use the Swatches palette

You use the Swatches palette to control all document colors, gradients, patterns, and tints. You can name and store any of these items for instant access. When a selected object’s fill or stroke contains a color, gradient, pattern, or tint applied from the Swatches palette, the applied swatch is highlighted in the Swatches palette.

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A B

C D E F G

Swatches palette

Spot color

Global color

Show All Swatches button

Show Color Swatches button

Show Gradient Swatches button

Show

Pattern Swatches button

New Swatch button

Fill or stroke of None

Registration swatch (prints on all plates)

CMYK symbol (when document is open in CMYK mode)

RGB symbol (when document is open in RGB mode)

•

To display the palette, choose Window > Swatches.

•

To change the display of swatches, select a view option from the Swatches palette menu: Small Thumbnail View,

Large Thumbnail View, or List View.

•

To show a specific type of swatch and hide all other swatches, click one of the following buttons: Show Color

Swatches , Show Gradient Swatches , or Show Pattern Swatches .

•

To change the order of swatches, select a sort option from the Swatches palette menu: Sort By Name or Sort By

Kind.

You can also drag a swatch to change its location.

To select a swatch by name, select Show Find Field from the Swatches palette menu. Then type the first letter or letters of the swatch’s name in the Find text box at the top of the palette. You can also use this method to select a PANTONE swatch by entering the PANTONE number.

See also

“To work with palettes” on page 31

About process colors

A process color is printed using a combination of the four standard process inks: cyan, magenta, yellow, and black

(CMYK). Use process colors when a job requires so many colors that using individual spot inks would be expensive or impractical, such as when printing color photographs.

Keep the following guidelines in mind when specifying a process color:

•

For best results in a printed document, specify process colors using CMYK values printed in process-color reference charts, such as those available from a commercial printer.

•

Illustrator lets you specify a process color as either global or non-global. Global process colors remain linked to a swatch in the Swatches palette, so that if you modify the swatch of a global process color, all objects using that color are updated. Non-global process colors do not automatically update throughout the document when the color is edited. Process colors are non-global by default.

Note:

Global and non-global process colors only affect how a particular color is applied to objects, never how colors separate or behave when you move them between applications.

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•

The final color values of a process color are its values in CMYK, so if you specify a process color using RGB, those color values will be converted to CMYK when you print color separations. These conversions differ based on your color management settings and document profile.

•

Don’t specify a process color based on how it looks on your monitor unless you have set up a color management system properly and you understand its limitations for previewing color.

To create a process-color swatch

Select a color using the Color Picker or Color palette, or select an object with the color you want.

Do one of the following:

•

Click the New Swatches button in the Swatches palette.

•

Drag the color from the toolbox or Color palette to the Swatches palette. Or, if you selected an object, drag the object to the Swatches palette.

•

Select New Swatch from the Swatches palette menu. If you want the swatch to be a global color, select Global. Set additional swatch options (see “Swatch options” on page 192), and click OK.

See also

“About swatches” on page 188

“About process colors” on page 190

About spot colors

A spot color is a special premixed ink that is used instead of, or in addition to, CMYK process inks, and that requires its own printing plate on a printing press. Use spot color when few colors are specified and color accuracy is critical.

Spot color inks can accurately reproduce colors that are outside the gamut of process colors. However, the exact appearance of the printed spot color is determined by the combination of the ink as mixed by the commercial printer and the paper it’s printed on, not by color values you specify or by color management. When you specify spot color values, you’re describing the simulated appearance of the color for your monitor and composite printer only (subject to the gamut limitations of those devices).

Keep the following guidelines in mind when specifying a spot color:

•

For best results in printed documents, specify a spot color from a color-matching system supported by your commercial printer. Several color-matching system libraries are included with Illustrator. To display a library, choose Window > Swatch Libraries.

•

Minimize the number of spot colors you use. Each spot color you create will generate an additional spot color printing plate for a printing press, increasing your printing costs. If you think you might require more than four colors, consider printing your document using process colors.

•

If an object contains spot colors and overlaps another object containing transparency, undesirable results may occur when exporting to EPS format, when converting spot colors to process colors using the Print dialog box, or when creating color separations in an application other than Illustrator. To prevent problems, convert the spot colors to process colors.

•

You can use a spot color printing plate to apply a varnish over areas of a process color job. In this case, your print job would use a total of five inks—four process inks and one spot varnish.

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To create spot-color swatches

Select a color using the Color Picker or Color palette, or select an object with the color you want.

Do one of the following:

•

Ctrl-click (Windows) or Command-click (Mac OS) the New Swatch button in the Swatches palette.

•

Ctrl-drag (Windows) or Command-drag (Mac OS) the color from the toolbox or Color palette to the Swatches palette. Or, if you selected an object, Ctrl-drag (Windows) or Command-drag (Mac OS) the object to the Swatches palette.

•

Select New Swatch from the Swatches palette menu. Select Spot Color for Color Type. Set additional swatch options (see “Swatch options” on page 192), and click OK.

See also

“About swatches” on page 188

“About spot colors” on page 191

Swatch options

To set swatch options, double-click an existing swatch or select New Swatch from the Swatches palette menu.

Swatch Name

Determines the name of the swatch in the Swatches palette.

Color Type

Determines if the swatch is a process color or spot color.

Global

Creates a global process-color swatch.

Color Mode

Determines the color mode of the swatch.

After you select the color mode you want, you can use the color sliders to adjust the color. If you select a color that is not web-safe, an alert cube appears. Click the cube to shift to the closest web-safe color (which is displayed to the right of the cube). If you select an out-of-gamut color, an alert triangle appears. Click the triangle to shift to the closest CMYK equivalent (which is displayed to the right of the triangle).

Preview

Displays color adjustments on any objects to which the swatch is applied.

To change the tint of a color

Select a global process color or spot color in the Swatches palette, or select an object to which you’ve applied a global process color or spot color.

In the Color palette, drag the T slider or enter a value in the text box to modify the color’s intensity. The tint range is from 0% to 100%; the lower the number, the lighter the tint will be.

If you don’t see the T slider, make sure that you have a global process color or spot color selected. If you still don’t see the T slider, choose Show Options from the Color palette menu.

To save the tint as a swatch, drag the color to the Swatches palette, or click the New Swatch button in the Swatches palette. 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%.”

See also

“About spot colors” on page 191

“About process colors” on page 190

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To create gradient swatches

Create a gradient using the Gradient palette, or select an object with the gradient you want.

Do one of the following:

•

Click the New Swatches button in the Swatches palette.

•

Drag the gradient from the toolbox or Color palette to the Swatches palette. Or, if you selected an object, drag the object to the Swatches palette.

•

Select New Swatch from the Swatches palette menu. Enter a swatch name, and click OK.

See also

“About the Gradient palette” on page 251

“To create or modify gradients” on page 252

Managing swatches

To duplicate swatches

Select one or more swatches that you want to duplicate.

Do one of the following:

•

Select Duplicate Swatch from the Swatches palette menu.

•

Drag the swatches to the New Swatch button in the Swatches palette.

See also

“To use the Swatches palette” on page 189

To replace, merge, or delete swatches

•

To replace a swatch, hold down Alt (Windows) or Option (Mac OS) and drag the color or gradient from the Color palette, Gradient palette, an object, or the toolbox to the Swatches palette, highlighting the swatch you want to replace.

Replacing an existing color, gradient, or pattern in the Swatches palette globally changes objects in the file containing that swatch color with the new color, gradient, or pattern. The only exception is for a process color that does not have the Global option selected in the Swatch Options dialog box.

•

To merge multiple swatches, select two or more swatches, and select Merge Swatches from the Swatches palette menu. The first selected swatch name and color value replaces all other selected swatches.

•

To delete a swatch, select one or more swatches. Select Delete Swatch from the palette menu, click the Delete

Swatch button, or drag the selected swatches to the Delete Swatch button.

When you delete a spot-color or global process-color swatch (or a pattern or gradient containing a spot or global process color), all objects painted with those colors are converted to the non-global process color equivalent.

See also

“To use the Swatches palette” on page 189

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To move swatches from a swatch library to the Swatches palette

Do any of the following:

•

Drag one or more swatches from the swatch library palette to the Swatches palette.

•

Select the swatches you want to add, and select Add To Swatches from the library’s palette menu.

•

Apply a swatch to an object in the document. The swatch is automatically added to the Swatches palette.

See also

“To use the Swatches palette” on page 189

“About swatch libraries” on page 188

To import swatches from another document

You can import all swatches or individual swatches from another document.

•

To import all swatches from another document, choose Window > Swatch Libraries > Other Library or choose

Open Swatch Library > Other Library from the Swatches palette menu. Select the file from which you want to import swatches, and click Open. The imported swatches appear in a swatch library palette (not the Swatches palette).

•

To import individual swatches from another document, copy and paste objects that use the swatches. The imported swatches appear in the Swatches palette.

Note:

If imported swatches have the same name (but different color values) as swatches already in the document, a swatch conflict occurs. For spot color conflicts, the color values of the existing swatches are automatically preserved. For process color conflicts, the Swatch Conflict dialog box appears. You can choose to add the conflicting swatches by appending a number to the swatch names or merge the swatches using the color values of the existing swatches.

See also

“To use the Swatches palette” on page 189

“About swatch libraries” on page 188

To create swatch libraries

In the Swatches palette, create the swatches you want in the swatch library are remove any swatches you don’t want.

Select Save Swatch Library from the Swatches palette menu.

To select all swatches that aren’t used in a document, choose Select All Unused from the Swatches palette menu.

See also

“About swatch libraries” on page 188

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Adjusting colors

To blend colors

The Blend filters create a series of intermediate colors from a group of three or more filled objects, based on the objects’ vertical or horizontal orientation, or on their stacking order. The filters do not affect strokes or unpainted objects.

Select three or more filled objects.

Do one of the following:

•

To fill the intermediate objects with graduated blends between the frontmost and backmost filled objects, choose

Filter > Colors > Blend Front To Back.

•

To fill the intermediate objects with graduated blends between the leftmost and rightmost filled objects, choose

Filter > Colors > Blend Horizontally.

•

To fill the intermediate objects with graduated blends between the topmost and bottommost filled objects, choose

Filter > Colors > Blend Vertically.

To adjust multiple colors at the same time

Select the objects whose colors you want to adjust.

Choose Filter > Colors > Adjust Colors.

Set the Fill and Stroke options.

Adjust the color values, and then click OK:

•

If you selected any global process colors or spot colors, use the tint slider to adjust the intensity of the colors. Any nonglobal process colors you selected are not affected.

•

If you are working in CMYK color mode and selected nonglobal process colors, use the sliders to adjust the percentages of cyan, magenta, yellow, and black.

•

If you are working in RGB color mode and selected nonglobal process colors, use the sliders to adjust the percentages of red, green, and blue.

•

If you want to convert the colors you selected to grayscale, select Grayscale from the Color Mode list and select the Convert option. Then use the slider to adjust the percentage of black.

•

If you selected any global process or spot colors and you want to convert them to nonglobal process colors, select either CMYK or RGB from the Color Mode list (depending on the color mode of the document) and select the

Convert option. Then use the sliders to adjust the colors.

To convert colors to grayscale

Select the objects whose colors you want to convert.

Choose Filter > Colors > Convert To Grayscale.

Use the Filter > Colors > Adjust Colors filter to convert objects to grayscale and adjust the shades of gray at the same time.

See also

“About Grayscale” on page 184

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To convert grayscale images to RGB or CMYK

Select the grayscale image.

Choose Filter > Colors > Convert To CMYK or Convert To RGB (depending on the color mode of the document).

To colorize grayscale or 1-bit images

Select the bitmap object.

Make sure the Fill button in the toolbox or Color palette is selected.

Use the Color palette to color the image with black, white, a process color, or a spot color.

Note:

If a grayscale image contains an alpha channel, you cannot colorize the image with a process color. Select a spot color instead.

To adjust the saturation of multiple colors

Select the objects whose colors you want to adjust.

Choose Filter > Colors > Saturate.

Enter a value from –100% to 100% to specify the percentage by which to decrease or increase the color or the spotcolor tint.

See also

“About HSB” on page 183

Mixing overlapping colors

You can use blending modes, the Hard Mix effect, or the Soft Mix effect to mix overlapping colors.

•

Blending modes provide many options for controlling overlapping colors, and should always be used in place of

Hard Mix and Soft Mix for artwork containing spot colors, patterns, gradients, text, or other complex artwork.

(See “About blending modes” on page 248.)

•

The Hard Mix effect combines colors by choosing the highest value of each of the color components. For example, if Color 1 is 20% cyan, 66% magenta, 40% yellow, and 0% black; and Color 2 is 40% cyan, 20% magenta, 30% yellow, and 10% black, the resulting hard color is 40% cyan, 66% magenta, 40% yellow, and 10% black.

•

The Soft Mix effect makes the underlying colors visible through the overlapping artwork, and then divides the image into its component faces. You specify the percentage of visibility you want in the overlapping colors.

You can apply blending modes to individual objects, whereas you must apply the Hard Mix and Soft Mix effects to entire groups or layers. Blending modes affect both the fill and stroke of an object, whereas the Hard and Soft Mix effects result in removal of an object’s stroke.

To mix colors using the Hard Mix or Soft Mix effect

Target the group or layer.

Do one of the following:

•

To mix colors by selecting each highest CMYK component value, choose Effect > Pathfinder > Hard Mix.

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•

To mix colors by specifying a mixing rate, choose Effect > Pathfinder > Soft Mix. Enter a value between 1% and

100% in the Mixing Rate text box to determine the percentage of visibility you want in the overlapping colors, and click OK.

In most cases, applying the Hard Mix or Soft Mix effect to objects painted using a mix of process and spot colors converts the color to CMYK. In the case of mixing a non-global process RGB color with a spot RGB color, all spot colors are converted to a non-global process RGB color.

See also

“Pathfinder effects” on page 304

“About targeting” on page 420

Chapter 9: Color management

Understanding color management

Why colors sometimes don’t match

No device in a publishing system is capable of reproducing the full range of colors viewable to the human eye. Each device operates within a specific color space which can produce a certain range, or

gamut

, of colors.

A color model determines the relationship between values, and the color space defines the absolute meaning of those values as colors. Some color models have a fixed color space (such as Lab) because they relate directly to the way humans perceive color. These models are described as being

device-independent

. Other color models (RGB, HSL,

HSB, CMYK, and so forth) can have many different color spaces. Because these models vary with each associated color space or device, they are described as being

device-dependent

Because of these varying color spaces, colors can shift in appearance as you transfer documents between different devices. Color variations can result from differences in image sources (scanners and software produce art using different color spaces); brands of computer monitors; the way software applications define color; print media

(newsprint paper reproduces a smaller gamut than magazine-quality paper); and other natural variations, such as manufacturing differences in monitors or monitor age.

RGB

CMYK

198

Color gamuts of various devices and documents

Lab color space

Documents (working space)

Devices

What is a color management system?

Color-matching problems result from various devices and software using different color spaces. One solution is to have a system that interprets and translates color accurately between devices. A color management system (CMS) compares the color space in which a color was created to the color space in which the same color will be output, and makes the necessary adjustments to represent the color as consistently as possible among different devices.

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 applications use ICC profiles, a format defined by the International Color Consortium (ICC) as a cross-platform standard. (See “About color profiles” on page 211.)

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Because no single color-translation method is ideal for all types of graphics, a color management system provide a choice of

rendering intents,

or translation methods, so that you can apply a method appropriate to a particular graphical element. For example, a color translation method that preserves correct relationships among colors in a wildlife photograph may alter the colors in a logo containing flat tints of color. (See “About rendering intents” on page 219.)

Note:

Don’t confuse color management with color correction. A color management system won’t correct an image that was saved with tonal or color balance problems. It provides an environment where you can evaluate images reliably in the context of your final output.

Do you need color management?

Without a color management system, your color specifications are device-dependent. You might not need color management if your production process is tightly controlled for one medium only. For example, you or your prepress service provider can tailor CMYK images and specify color values for a known, specific set of printing conditions.

The value of color management increases when you have more variables in your production process. Color management is recommended if you anticipate reusing color graphics for print and online media, using various kinds of devices within a single medium (such as different printing presses), or if you manage multiple workstations.

You will benefit from a color management system if you need to accomplish any of the following:

•

Get predictable and consistent color output on multiple output devices including color separations, your desktop printer, and your monitor. Color management is especially useful for adjusting color for devices with a relatively limited gamut, such as a four-color process printing press.

•

Accurately soft-proof (preview) a color document on your monitor by making it simulate a specific output device.

(Soft-proofing is subject to the limitations of monitor display, such as room lighting conditions.)

•

Accurately evaluate and consistently incorporate color graphics from many different sources if they also use color management, and even in some cases if they don’t.

•

Send color documents to different output devices and media without having to manually adjust colors in documents or original graphics. This is valuable when creating images that will eventually be used both in print and online.

•

Print color correctly to an unknown color output device; for example, you could store a document online for consistently reproducible on-demand color printing anywhere in the world.

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. For example, the color characteristics of sunlight change throughout the day and alter the way colors appear on your screen, so keep shades closed or work in a windowless room. To eliminate the blue-green cast from fluorescent lighting, you can install D50 (5000˚ Kelvin) lighting. You can also view printed documents using a D50 lightbox.

•

View your document in a room with neutral-colored walls and ceiling. A room’s color can affect the perception of both monitor color and printed color. The best color for a viewing room is polychromatic gray. Also, the color of your clothing reflecting off the glass of your monitor may affect the appearance of colors on-screen.

•

Remove colorful background patterns on your monitor desktop. Busy or bright patterns surrounding a document interfere with accurate color perception. Set your desktop to display neutral grays only.

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•

View document proofs in the real-world conditions under which your audience will see the final piece. For example, you might want to see how a housewares catalog looks under the incandescent light bulbs used in homes, or view an office furniture catalog under the fluorescent lighting used in offices. However, always make final color judgements under the lighting conditions specified by the legal requirements for contract proofs in your country.

Keeping colors consistent

About color management in Adobe applications

Adobe’s color management system helps you maintain the appearance of colors as you bring images in from external sources, edit documents and transfer them between Adobe applications, and output your finished compositions.

This system is based on conventions developed by the International Color Consortium (ICC), a group responsible for standardizing profile formats and procedures so that consistent and accurate color can be achieved throughout a workflow.

By default, color management is turned on in Adobe applications. If you purchased the Adobe Creative Suite, color settings are synchronized across applications to provide consistent display for RGB and CMYK colors. This means that colors look the same no matter which application you view them in.

Color settings for each Creative Suite application are synchronized in a central location through Adobe Bridge.

If you decide to change the default settings, easy-to-use presets let you configure Adobe’s color management system 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. For example, there are different color-consistency issues for an RGB photo printing workflow, a

CMYK commercial printing workflow, a mixed RGB/CMYK digital printing workflow, and an internet publishing workflow.

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Basic steps for producing consistent color

1. Consult with your production partners (if you have any) to ensure that all aspects of your color management workflow integrate seamlessly with theirs.

Discuss how the color workflow will be integrated with your workgroups and service providers, how will software and hardware be configured for integration into the color management system, and at what level will color management be implemented. (See “Do you need color management?” on page 199.)

For more information on common color management workflows, see the Color Workflow Guide on your application

CD.

2. Calibrate and profile your monitor.

A monitor profile is the first profile you should create. Seeing accurate color is essential if you are making creative decisions involving the color you specify in your document. (See “To calibrate and profile your monitor” on page 213.)

3. Add color profiles to your system for any input and output devices you plan to use, such as scanners and printers.

The color management system uses profiles to know how a device produces color and what the actual colors in a document are. Device profiles are often installed when a device is added to your system. You can also use third-party software and hardware to create more accurate profiles for specific devices and conditions. If your document will be commercially printed, contact your service provider to determine the profile for the printing device or press condition. (See “About color profiles” on page 211 and “To install a color profile” on page 213.)

4. Set up color management in Adobe applications.

The default color settings are sufficient for most users. However, you can change the color settings by doing one of the following:

•

If you use multiple Adobe applications, use Bridge to choose a standard color management configuration and synchronize color settings across applications before working with documents. (See “To synchronize color settings across Adobe applications” on page 202.)

•

If you use only one Adobe application, or if you want to customize advanced color management options, you can change color settings for a specific application. (See “To set up color management for Illustrator, InDesign, and

Photoshop” on page 202 or “To set up color management for GoLive” on page 202.)

5. (Optional) Preview colors using a soft proof.

After you create a document, you can use a soft proof to preview how colors will look when printed or viewed on a specific device. (See “Soft-proofing colors” on page 207.)

Note:

A soft proof alone doesn’t let you preview how overprinting will look when printed on an offset press. If you work with Illustrator or InDesign documents that contain overprinting, turn on Overprint Preview to accurately preview overprints in a soft proof.

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 209 and “Color-managing documents for online viewing” on page 206.)

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To synchronize color settings across Adobe applications

When you set up color management using Adobe Bridge, color settings are automatically synchronized across appli cations. This synchronization ensures that colors look the same in all Adobe Creative Suite applications.

If color settings are not synchronized, a warning message appears at the top of the Color Settings dialog box in every

Creative Suite application. Adobe recommends that you synchronize color settings before you work with new or existing documents.

Open Bridge.

To open Bridge from another Creative Suite application, choose File > Browse from the application. To open Bridge directly, either choose Adobe Bridge from the Start menu (Windows) or double-click the Adobe Bridge icon

(Mac OS).

Choose Edit > Creative Suite Color Settings.

Select a color setting from the list, and click Apply.

If none of the default settings meet your requirements, select Show Expanded List Of Color Setting Files to view additional settings. To install a custom settings file, such as a file you received from a print service provider, click

Show Saved Color Settings Files.

To set up color management for Illustrator, InDesign, and Photoshop

Choose Edit > Color Settings.

Select a color setting from the Settings menu, and click OK.

The setting you select determines the color working spaces used by the application, what happens when you open and import files with embedded profiles, and how the color management system converts colors. To view a description of a setting, select the setting and then position the pointer over the setting name. The description appears at the bottom of the dialog box.

In certain situations, such as if your service provider supplies you with a custom output profile, you may need to customize specific options in the Color Settings dialog box. However, customizing is recommended for advanced users only.

Note:

If you work with more than one Adobe application, it is highly recommended that you synchronize your color settings across applications. (See “To synchronize color settings across Adobe applications” on page 202.)

See also

“To customize color settings” on page 215

To set up color management for GoLive

By default, GoLive’s color management system uses a standard web workflow in which you author web pages and import images in the sRGB color space. sRGB reflects the characteristic of the average PC monitor and is therefore applicable to the majority of web users. If you have a highly controlled distribution for your website (for example, you know that the majority of users will view the site using Apple Macintosh computers), you can override the standard web workflow.

Choose Edit > Color Settings.

If you want to author web pages in a color space other than sRGB, or you want to preserve embedded profiles in

RGB images, deselect Use Standard Web Workflow.

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Adobe recommends that you leave the Use Standard Web Workflow option selected.

Select a color setting from the Settings menu, and click OK.

The setting you select determines the color working space of the application, what happens when you open and import files with embedded profiles, and how the color management system converts colors. You can view the options for a color setting directly in the Color Settings dialog box.

In most cases, it is best to use a standard color setting and not change specific options in the Color Settings dialog box. Customizing the working spaces, color management policies, and color conversion options is recommended for advanced users only.

Note:

If you work with more than one Adobe application, it is recommended that you synchronize your color settings across applications. (See “To synchronize color settings across Adobe applications” on page 202.)

To change the appearance of CMYK black

In Illustrator and 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.

Choose Edit > Preferences > Appearance Of Black (Windows) or

Application name

> Preferences > Appearance

Of Black (Mac OS).

Choose an option for On Screen:

Display All Blacks Accurately

Displays pure CMYK black as dark gray. This setting allows you to see the difference between pure black and rich black.

Display All Blacks As Rich Black

Displays pure CMYK black as jet black (RGB=000). This setting makes pure black and rich black appear the same on-screen.

Choose an option for Printing/Exporting:

Output All Blacks Accurately

When printing to a non-Postscript desktop printer or exporting to an RGB file format, outputs pure CMYK black as using the color numbers in the document. This setting allows you to see the difference between pure black and rich black.

Output All Blacks As Rich Black

When printing to a non-Postscript desktop printer or exporting to an RGB file format, outputs pure CMYK black as jet black (RGB=000). This setting makes pure black and rich black appear the same.

Managing process and spot colors

When color management is on, any color you apply or create within an Adobe application automatically uses a color profile that corresponds to the document. If you switch color modes, the color management system uses the appro priate profiles to translate the color to the new color model you choose.

Keep in mind the following guidelines for working with process and spot colors:

•

Choose a CMYK working space that matches your CMYK output conditions to ensure that you can accurately define and view process colors.

•

Select colors from a color library. Adobe applications come with several standard color libraries, which you can load using the Swatches palette menu.

•

(Illustrator and InDesign) Turn on Overprint Preview to get an accurate and consistent preview of spot colors.

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•

(Illustrator and InDesign) Use Lab values (the default) to display predefined spot colors (such as colors from the

TOYO, PANTONE, DIC, and HKS libraries) and convert these colors to process colors. Using Lab values provides the greatest accuracy and guarantees the consistent display of colors across Creative Suite applications. If you want the display and output of these colors to match earlier versions of Illustrator or InDesign, use CMYK equivalent values instead. For instructions on switching between Lab values and CMYK values for spot colors, search

Illustrator or InDesign Help

Note:

Color-managing spot colors provides a close approximation of a spot color on your proofing device and monitor.

However, it is difficult to exactly reproduce a spot color on a monitor or proofing device because many spot color inks exist outside the gamuts of many of those devices.

To share swatches between applications

You can share the solid swatches you create in one Adobe CS2 application with any other Adobe CS2 application by saving a swatch library for exchange. The colors appear exactly the same across applications as long as your color settings are synchronized.

In the Swatches palette, create the process and spot-color swatches you want to share, and remove any swatches you don’t want to share.

Note:

You cannot share the following types of swatches between applications: patterns, gradients, and the Registration swatch from Illustrator or InDesign; and book color references, HSB, XYZ, duotone, monitorRGB, opacity, total ink, and webRGB swatches from Photoshop. These types of swatches are automatically excluded when you save swatches for exchange.

Select Save Swatches For Exchange from the Swatches palette menu, and save the swatch libraries in an easily accessible location.

Load the swatch library into the Swatches palette for any other Adobe CS2 application. See that application’s Help for additional instructions.

Color-managing imported images

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.

•

When you import an image that contains an embedded profile, color policies in the Color Settings dialog box determine how the Adobe application handles the profile. (See “Color Management Policy options” on page 217.)

Using a safe CMYK workflow

In Illustrator and InDesign, a safe CMYK workflow ensures that CMYK color numbers are preserved all the way to the final output device, as opposed to being converted by your color management system. This workflow is beneficial if you want to incrementally adopt color management practices. For example, you can use CMYK profiles to softproof and hard-proof documents without the possibility of unintended color conversions occurring during final output.

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Illustrator and InDesign support a safe CMYK workflow by default. As a result, when you open or import a CMYK image with an embedded profile, the application ignores the profile and preserves the raw color numbers. If you want your application to adjust color numbers based on an embedded profile, change the CMYK color policy to Preserve

Embedded Profiles in the Color Settings dialog box. You can easily restore the safe CMYK workflow by changing the

CMYK color policy back to Preserve Numbers (Ignore Linked Profiles).

You can override safe CMYK settings when you print a document or save it to PDF. However, doing so may cause colors to be reseparated. For example, pure CMYK black objects may be reseparated as rich black. For more infor mation on color management options for printing and saving PDF files, search in Help.

See also

“Color Management Policy options” on page 217

Preparing imported graphics for color management

Use the following general guidelines to prepare graphics for being color-managed in Adobe applications:

•

Embed an ICC-compliant profile when you save the file. The file formats that support embedded profiles are

JPEG, PDF, PSD (Photoshop), AI (Illustrator), INDD (InDesign), and TIFF. (See “To embed a color profile in a document” on page 214.)

•

If you plan to reuse a color graphic for multiple final output devices or media, such as for print, video, and the web, prepare the graphic using RGB or Lab colors whenever possible. If you must save in a color model other than RGB or Lab, keep a copy of the original graphic. RGB and Lab color models represent larger color gamuts than most output devices can reproduce, retaining as much color information as possible before being translated to a smaller output color gamut.

To view or change profiles for imported bitmap images

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.

Do one of the following:

•

If the graphic is already in layout, select it and choose Object > Image Color Settings.

•

If you’re about to import the graphic, choose File > Place, select Show Import Options, locate and select the file, and click Place. Then choose Color Settings from the menu at the top of the Image Import Options dialog box that appears.

For Profile, choose the source profile to apply to the graphic in your document. If a profile is currently embedded, the profile name appears at the top of the Profile menu.

(Optional) For Rendering Intent, choose a rendering intent. In most cases, it’s best to use the default rendering intent.

Click OK.

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Color-managing documents for online viewing

Color management for online viewing is very different from color management for printed media. With printed media, you have far more control over the appearance of the final document. With online media, your document will appear on a wide range of possibly uncalibrated monitors and video display systems, significantly limiting your control over color consistency.

When you color-manage documents that will be viewed exclusively on the web, Adobe recommends that you use the sRGB color space. sRGB is the default working space for most Adobe color settings, but you can verify that sRGB is selected in the Color Settings dialog box of any Creative Suite application. With the working space set to sRGB, any

RGB graphics you create will use sRGB as the color space.

When working with images that have an embedded color profile other than sRGB, you should convert the image’s colors to sRGB before you save the image for use on the web. If you want the application to automatically convert the colors to sRGB when you open the image, select Convert To Working Space as the RGB color management policy.

In Photoshop and InDesign, you can also manually convert the colors to sRGB using the Edit > Convert To Profile command.

See also

“About color working spaces” on page 216

“Color Management Policy options” on page 217

Color-managing PDF documents for online viewing

When you export Portable Document Format (PDF) files, you can choose to embed profiles. PDF files with embedded profiles reproduce color consistently in Acrobat 4.x or later running under a properly configured color management system. For information about color management in Acrobat software, see Acrobat online Help.

Keep in mind that embedding color profiles increases the size of PDF files. RGB profiles are usually small (around

3K); however, CMYK profiles can range from .5 to 2 MB.

See also

“Color-managing PDF files for printing” on page 210

Color-managing HTML documents for online viewing

Many web browsers do not support color management. Of the browsers that do support color management, not all instances can be considered color-managed because they may be running on systems where the monitors are not calibrated. In addition, few web pages contain images with embedded profiles. If you manage a highly controlled environment, such as the intranet of a design studio, you may be able to achieve some degree of HTML color management for images by equipping everyone with a browser that supports color management and calibrating all monitors.

You can approximate how colors will look on non-calibrated monitors by using the sRGB color space. In Adobe

GoLive, you can also preview how colors will look in different browsers using options in the View palette. (See “To preview how colors will appear in a web browser” on page 209.) However, because color reproduction varies among uncalibrated monitors, you still won’t be able to anticipate the true range of potential display variations.

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Proofing colors

Soft-proofing colors

In a traditional publishing workflow, you print a hard proof of your document to preview how its colors will look when reproduced on a specific output device. In a color-managed workflow, you can use the precision of color profiles to soft-proof your document directly on the monitor. You can display an on-screen preview of how your document’s colors will look when reproduced on a particular output device. If you are authoring a website in GoLive, you can also soft-proof how colors will look when viewed in different browsers and with different color profiles.

Keep in mind that the reliability of the soft proof depends upon the quality of your monitor, the profiles of your monitor and output devices, and the ambient lighting conditions of your work environment.

Note:

A B C

Using a soft proof to preview the final output of a document on your monitor

Document in the working space

Document’s color values are translated to color space of chosen proof profile (usually the output device’s profile).

Monitor displays proof profile’s interpretation of document’s color values.

To soft-proof colors

In Illustrator, InDesign, or Photoshop, choose View > Proof Setup, and do one of the following:

•

Choose a preset that corresponds to the output condition you want to simulate. (See “Soft proof presets” on page 207.)

•

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. (See

“Custom soft proof options” on page 208.)

Choose View > Proof Colors to toggle the soft-proof display on and off. When soft proofing is on, a check mark appears next to the Proof Colors command, and the name of the proof preset or profile appears at the top of the document window.

To compare the colors in the original image and the colors in the soft proof, open the document in a new window before you set up the soft proof.

Soft proof presets

Working CMYK

Creates a soft proof of colors using the current CMYK working space as defined in the Color Settings dialog box.

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Document CMYK (InDesign)

Creates a soft proof of colors using the document’s CMYK profile.

Working Cyan Plate, Working Magenta Plate, Working Yellow Plate, Working Black Plate, or Working CMY Plates

(Photoshop)

Creates a soft proof of specific CMYK ink colors using the current CMYK working space.

Macintosh RGB or Windows RGB (Photoshop and Illustrator)

Creates a soft proof of colors in an image using either a standard Mac OS or Windows monitor as the proof profile space to simulate. Both options assume that the simulated device will display your document without using color management. Neither option is available for Lab or CMYK documents.

Monitor RGB (Photoshop and Illustrator)

Creates a soft proof of colors in an RGB document using your current monitor color space as the proof profile space. This option assumes that the simulated device will display your document without using color management. This option is unavailable for Lab and CMYK documents.

Custom soft proof options

Device To Simulate

Specifies the color profile of the device for which you want to create the proof. The usefulness of the chosen profile depends on how accurately it describes the device’s behavior. Often, custom profiles for specific paper and printer combinations create the most accurate soft proof.

Preserve CMYK Numbers or Preserve RGB Numbers

Simulates how the colors will appear without being converted to the color space of the output device. This option is most useful when you are following a safe CMYK workflow. (See

“Using a safe CMYK workflow” on page 204.)

Rendering Intent (Photoshop and Illustrator)

When the Preserve Numbers option is deselected, specifies a rendering intent for converting colors to the device you are trying to simulate. (See “About rendering intents” on page 219.)

Use Black Point Compensation (Photoshop)

Ensures that the shadow detail in the image is preserved by simulating the full dynamic range of the output device. Select this option if you plan to use black point compensation when printing (which is recommended in most situations).

Simulate Paper Color

Simulates the dingy white of real paper, according to the proof profile. Not all profiles support this option.

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.

To save or load a custom proof setup in Photoshop

Choose View > Proof Setup > Custom.

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.

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To preview how colors will appear in a web browser

Different web browsers use different color spaces. For example, most Windows browsers display colors using the sRGB color space, while most Mac OS browsers display colors using the Apple RGB color space.You can preview how colors will look when viewed in different browsers using options in GoLive’s View palette.

In GoLive, select the Layout Editor in the document window.

Click the Options tab in the View palette.

For Basic Profile, select the browser you want to emulate.

(Optional) For User Profiles, select an option from the Color submenu.

For example, if you want to preview how colors look when displayed using embedded profiles, select Use Embedded

Profiles. Or, if you want to preview how colors look when displayed in grayscale, select Mac Grayscale (Gray Gamma

1.8) or Windows Grayscale (Gray Gamma 2.2).

Note:

The Safari browser (listed under the Basic Profile > Other menu) is currently the only browser that supports embedded color profiles. Therefore, selecting User Profiles > Color > Use Embedded Profiles does not provide an accurate preview for any browser other than Safari.

Each User Profiles > Color option you select overrides existing Basic Profile and User Profiles options. For example, if you select Explorer 6 Win for Basic Profile and then select Mac Colors (Apple RGB) for User Profiles > Color,

GoLive displays colors using the Apple RGB color space.

Color-managing documents when printing

Printing with color management

Color management options for printing let you specify how you want Adobe applications to handle the outgoing image data so the printer will print colors consistent with what you see on your monitor. Your options for printing color-managed documents depend on the Adobe application you use, as well as the output device you select. In general, you have the following choices for handling colors during printing:

•

Let the printer determine colors. (See “Letting the printer determine colors when printing” on page 209.)

•

Let the application determine colors. (See “Letting the application determine colors when printing” on page 210.)

•

(Photoshop and InDesign) Do not use color management. In this workflow, no color conversion occurs. You may also need to turn off color management in your printer driver. This method is useful primarily for printing test targets or generating custom profiles.

Letting the printer determine colors when printing

In this workflow, the application does no color conversion, but sends all necessary conversion information to the output device. This method is especially convenient when printing to inkjet photo printers, because each combi nation of paper type, printing resolution, and additional printing parameters (such as high speed printing) requires a different profile. Most new inkjet photo printers come with fairly accurate profiles built into the driver, so letting the printer select the right profile saves time and alleviates mistakes. This method is also recommended if you are not familiar with color management.

If you choose this option, it is very important that you set up printing options and turn on color management in your printer driver. Search Help for additional instructions.

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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. PostScript color-managed output workflows require an output device that supports PostScript color management using PostScript level 2, version 2017 or higher; or PostScript 3.

Letting the application determine colors when printing

In this workflow, the application does all the color conversion, generating color data specific to one output device.

The application uses the assigned color profiles to convert colors to the output device’s gamut, and sends the resulting values to the output device. The accuracy of this method depends on the accuracy of the printer profile you select.

Use this workflow when you have custom ICC profiles for each specific printer, ink, and paper combination.

If you choose this option, it is very important that you disable color management in your printer driver. Letting the application and the printer driver simultaneously manage colors during printing results in unpredictable color.

Search Help for additional instructions.

Obtaining custom profiles for desktop printers

If the output profiles that come with your printer don’t produce satisfactory results, you obtain custom profiles in the following ways:

•

Purchase a profile for your type of printer and paper. This is usually the easiest and least expensive method.

•

Purchase a profile for your specific printer and paper. This method involves printing a profiling target on your printer and paper, and providing that target to a company that will create a specific profile. This is more expensive than purchasing a standard profile, but can provide better results because it compensates for any manufacturing variations in printers.

•

Create your own profile using a scanner-based system. This method involves using profile-creation software and your own flatbed scanner to scan the profiling target. It can provide excellent results for matte surface papers, but not glossy papers. (Glossy papers tend to have fluorescent brighteners in them that look different to a scanner than they do in room light.)

•

Create your own profile using a hardware profile-creation tool. This method is expensive but can provide the best results. A good hardware tool can create an accurate profile even with glossy papers.

•

Tweak a profile created using one of the previous methods with profile-editing software. This software can be complex to use, but lets you correct problems with a profile or simply adjust a profile to produce results more to your taste.

See also

“To install a color profile” on page 213

Color-managing PDF files for printing

When you create Adobe PDF files for commercial printing, you can specify how color information is represented.

The easiest way to do this is using a PDF/X standard; however, you can also specify color-handling options manually in the Output section of the PDF dialog box. For more information about PDF/X and how to create PDF files, search

Help.

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In general, you have the following choices for handling colors when creating PDF files:

•

(PDF/X-3) Do 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 file.

•

(PDF/X-1a) Convert all colors to the destination CMYK color space. Use this method if you want to create a pressready file that does not require any further color conversions. When you select a PDF/X-1a standard, no profiles are embedded in the PDF file.

•

(Illustrator and InDesign) Convert colors that have embedded profiles to the destination color space, but preserve the numbers for those colors without embedded profiles. You can manually select this option in the Output section of the PDF dialog box. Use this method if the document contains CMYK images that aren’t color-managed and you want to make sure that the color numbers are preserved. (See “Using a safe CMYK workflow” on page 204.)

Note:

All spot-color information is preserved during color conversion; only the process color equivalents convert to the designated color space.

Working with color profiles

About color profiles

Precise, consistent color management requires accurate ICC-compliant profiles of all of your color devices. For example, without an accurate scanner profile, a perfectly scanned image may appear incorrect in another program, simply due to any difference between the scanner and the program displaying the image. This misleading represen tation may cause you to make unnecessary, time-wasting, and potentially damaging “corrections” to an already satis factory image. With an accurate profile, a program importing the image can correct for any device differences and display a scan’s actual colors.

A color management system uses the following kinds of profiles:

Monitor profiles

Describe how the monitor is currently reproducing color. This is the first profile you should create because it is absolutely essential for managing color. If what you see on your monitor is not representative of the actual colors in your document, you will not be able to maintain color consistency. (See “To calibrate and profile your monitor” on page 213.)

Input device profiles

Describe what colors an input device is capable of capturing or scanning. If your digital camera offers a choice of profiles, Adobe recommends that you select Adobe RGB. Otherwise, use sRGB (which is the default for most cameras). Advanced users may also consider using different profiles for different light sources. For scanner profiles, some photographers create separate profiles for each type or brand of film scanned on a scanner.

Output device profiles

Describe the color space of output devices like desktop printers and a printing press. The color management system uses output device profiles to properly map the colors in an document to the colors within the gamut of an output device’s color space. The output profile should also take into consideration specific printing conditions, such as the type of paper and ink. For example, glossy paper is capable of displaying a different range of colors than a matte paper.

Most printer drivers come with built-in color profiles. It’s a good idea to try these profiles before you invest in custom profiles. For information on how to print using the built-in profiles, see “Letting the printer determine colors when printing” on page 209. For information on how to obtain custom profiles, see “Obtaining custom profiles for desktop printers” on page 210.

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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. But when tagged with the AdobeRGB color space, these numbers specify an actual color or wavelength of light; in this case, a specific color of purple.

When color management is on, Adobe applications automatically assign new documents a profile based on Working

Space options in the Color Settings dialog box. Documents without associated profiles are known as

untagged

and contain only raw color numbers. When working with untagged documents, Adobe applications use the current working space profile to display and edit colors. (See “About color working spaces” on page 216.)

To view the current document profile, select Document Color Profile in the status bar.

Managing color with profiles

Profiles describe the color spaces of the input device and the document.

Using the profiles’ descriptions, the color management system identifies the document’s actual colors.

The monitor’s profile tells the color management system how to translate the numeric values to the monitor’s color space.

Using the output device’s profile, the color management system translates the document’s numeric values to the color values of the output device so the actual colors are printed.

About monitor calibration and characterization

Profiling software such as Adobe Gamma can both calibrate and characterize your monitor.

Calibrating

your monitor brings it into compliance with a predefined standard; for example, adjusting your monitor so that it displays color using the graphics arts standard white point color temperature of 5000 degrees Kelvin.

Characterizing

your monitor simply creates a profile that describes how the monitor is currently reproducing color.

Monitor calibration involves adjusting the following video settings, which may be unfamiliar to you.

Brightness and contrast

The overall level and range, respectively, of display intensity. These parameters work just as they do on a television. Adobe Gamma helps you set an optimum brightness and contrast range for calibration.

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.

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Phosphors

The substances that CRT monitors use to emit light. Different phosphors have different color character istics.

White point

The color and intensity of the brightest white the monitor can reproduce.

To calibrate and profile your monitor

When you calibrate your monitor, you are adjusting it so it conforms to a known specification. Once your monitor is calibrated, the profiling utility lets you save a color profile. The profile describes the color behavior of the monitor—what colors can or cannot be displayed on the monitor and how the numeric color values in an image must be converted so that colors are displayed accurately.

Make sure your monitor has been turned on for at least a half hour. This gives it sufficient time to warm up and produce more consistent output.

Make sure your monitor is displaying thousands of colors or more. Ideally, make sure it is displaying millions of colors or 24-bit or higher.

Remove colorful background patterns on your monitor desktop and set your desktop to display neutral grays.

Busy patterns or bright colors surrounding a document interfere with accurate color perception.

Do one of the following to calibrate and profile your monitor:

•

In Windows, use the Adobe Gamma utility, located in the Control Panel.

•

In Mac OS, use the Calibrate utility, located in the System Preferences/Displays/Color tab.

•

For the best results, use third-party software and measuring devices. In general, using a measuring device such as a colorimeter along with software can create more accurate profiles because an instrument can measure the colors displayed on a monitor far more accurately than the human eye.

Note:

Monitor performance changes and declines over time; recalibrate and profile your monitor every month or so. If you find it difficult or impossible to calibrate your monitor to a standard, it may be too old and faded.

Most profiling software automatically assigns the new profile as the default monitor profile. For instructions on how to manually assign the monitor profile, refer to the Help system for your operating system.

To install a color profile

Color profiles are often installed when a device is added to your system. The accuracy of these profiles (often called

generic profiles

canned profiles

) varies from manufacturer to manufacturer. You can also obtain device profiles from your service provider, download profiles from the web, or create

custom profiles

using professional profiling equipment.

•

In Windows, right-click a profile and select Install Profile. Alternatively, copy the profiles into the

WINDOWS\system32\spool\drivers\color folder (Windows XP) or the WINNT\system32\spool\drivers\color folder (Windows 2000).

•

In Mac OS, copy profiles into the /Library/Application Support/Adobe/Color/Profiles/Recommended folder. You can also copy profiles into the /Users/

username

/Library/ColorSync/Profiles folder.

After installing color profiles, be sure to restart Adobe applications.

See also

“Obtaining custom profiles for desktop printers” on page 210

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To embed a color profile in a document

In order to embed a color profile in a document you created in Photoshop, Illustrator, or InDesign, you must save or export the document in a format that supports ICC profiles.

Save or export the document in one of the following file formats: Adobe PDF, PSD (Photoshop), AI (Illustrator),

INDD (InDesign), JPEG, or TIFF.

Select the option for embedding ICC profiles. The exact name and location of this option varies between applica tions. Search Help in the relevant CS2 application for additional instructions.

Changing the color profile for a document

There are very few situations that require you to change the color profile for a document. This is because your appli cation automatically assigns the color profile based on the settings you select in the Color Settings dialog box. The only times you should manually change a color profile are when preparing a document for a different output desti nation or correcting a policy behavior that you no longer want implemented in the document. Changing the profile is recommended for advanced users only.

You can change the color profile for a document in the following ways:

•

Assign a new profile. The color numbers in the document remain the same, but the new profile may dramatically change the appearance of the colors as displayed on your monitor.

•

Remove the profile so that the document in no longer color-managed.

•

(Photoshop and InDesign) Convert the colors in the document to the color space of a different profile. The color numbers are shifted in an effort to preserve the original color appearances.

To assign or remove a color profile from a document in Photoshop or Illustrator

Choose Edit > Assign Profile.

Select an option, and click OK:

Don’t Color Manage This Document

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.

Working [color model: working space]

Assigns the working space profile to the document.

Profile

Lets you select a different profile. The application assigns the new profile to the document without converting colors to the profile space. This may dramatically change the appearance of the colors as displayed on your monitor.

See also

“Changing the color profile for a document” on page 214

To assign or remove a color profile from a document in InDesign

Choose Edit > Assign Profiles.

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

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appearance of colors is defined by the application’s working space profiles, and you can no longer embed a profile in the document.

Assign Current Working Space <working space>

Assigns the working space profile to the document.

Assign Profile

Choose a rendering intent for each type of graphic in your document. For each graphic type, you can choose one of the four standard intents, or the Use Color Settings Intent, which uses the rendering intent currently specified in the Color Settings dialog box. For more information on rendering intents, search in Help.

The graphic types include the following:

Solid Color Intent

Sets the rendering intent for all vector art (solid areas of color) in InDesign native objects.

Default Image Intent

Sets the default rendering intent for bitmap images placed in InDesign. You can still override this setting on an image-by-image basis. (See “To view or change profiles for imported bitmap images” on page 205.)

After-Blending Intent

Sets the rendering intent to the proofing or final color space for colors that result from trans parency interactions on the page. Use this option when your document includes transparent objects.

To preview the effects of the new profile assignment in the document, select Preview, and then click OK.

See also

“Changing the color profile for a document” on page 214

To convert colors in a document to another profile

In Photoshop or InDesign, choose Edit > Convert To Profile.

Under Destination Space, choose the color profile to which you want to convert the document’s colors. The document will be converted to and tagged with this new profile.

Under Conversion Options, specify a color management engine, a rendering intent, and black point and dither options. (See “Color Conversion options” on page 218.)

To flatten all layers of the document onto a single layer upon conversion, select Flatten Image.

To preview the effects of the conversion in the document, select Preview. This preview becomes more accurate if you select Flatten Image.

See also

“Changing the color profile for a document” on page 214

Color settings

To customize color settings

For most color-managed workflows, it is best to use a preset color setting which has been tested by Adobe Systems.

Changing specific options is recommended only if you are knowledgeable about color management and very confident about the changes you make.

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After you customize options, you can save them as a preset. Saving color settings ensures that you can reuse them and share them with other users or applications.

•

To save color settings as a preset, click Save in the Color Settings dialog box. To ensure that the application displays the setting name in the Color Settings dialog box, save the file in the default location. If you save the file to a different location, you must load the file before you can select the setting.

•

To load a color settings preset that’s not saved in the standard location, click Load in the Color Settings dialog box, select the file you want to load, and click Open.

About color working spaces

working space

is an intermediate color space used to define and edit color in Adobe applications. Each color model has a working space profile associated with it. You can choose working space profiles in the Color Settings dialog box.

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.

If you open a document embedded with a color profile that doesn’t match the working space profile, the application uses a

color management policy

to determine how to handle the color data. In most cases, the default policy is to preserve the embedded profile. For more information on setting up color management policies, see “About missing and mismatched color profiles” on page 217 and “Color Management Policy options” on page 217.

Working Space options

To display working space options, choose Edit > Color Settings.

To view a description of any profile, select the profile and then position the pointer over the profile name. The description appears at the bottom of the dialog box.

RGB

Determines the RGB color space of the application. In general, it’s best to choose Adobe RGB or sRGB, rather than the profile for a specific device (such as a monitor profile). sRGB is recommended when preparing images for the web, because it defines the color space of the standard monitor used to view images on the web. sRGB is also a good choice when working with images from consumer-level digital cameras, because most of these camera use sRGB as their default color space.

Adobe RGB is recommended when preparing documents for print, because Adobe RGB’s gamut includes some printable colors (cyans and blues in particular) that can't be displayed using sRGB. Adobe RGB is also a good choice when working with images from professional-level digital cameras, because most of these camera use Adobe RGB as their default color space.

CMYK

Determines the CMYK color space of the application. All CMYK working spaces are device-dependent, meaning that they are based on actual ink and paper combinations. The CMYK working spaces Adobe supplies are based on standard commercial print conditions.

Gray (Photoshop)

Determines Grayscale color space of the application.

Spot (Photoshop)

Specifies the dot gain to use when displaying spot color channels and duotones.

Adobe applications ship with a standard set of working space profiles that have been recommended and tested by

Adobe Systems for most color management workflows. By default, only these profiles appear in the working space menus. To display additional color profiles that you have installed on your system, select Advanced Mode (Illustrator

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and InDesign) or More Options (Photoshop). A color profile must be bi-directional, that is, contain specifications for translating both into and out of color spaces in order to appear the working space menus.

Note:

In Photoshop, you can create custom working space profiles. However, Adobe recommends that you use a standard working space profile rather than creating a custom working space profile. For more information, see the Photoshop support knowledgebase at http://www.adobe.com/support/products/photoshop.html.

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. It is common to encounter the following exceptions to your color-managed workflow:

•

You might open a document or import color data (for example, by copying and pasting or dragging and dropping) from a document that is not tagged with a profile. This is often the case when you open a document created in an application that either does not support color management or has color management turned off.

•

You might open a document or import color data from a document that is tagged with a profile different from the current working space. This may be the case when you open a document that has been created using different color management settings, or a document that has been scanned and tagged with a scanner profile.

In either case, the application uses a

color management policy

to decide how to handle the color data in the document.

(See “Color Management Policy options” on page 217.)

If the profile is missing or does not match the working space, the application may display a warning message, depending on options you set in the Color Settings dialog box. Profile warnings are turned off by default, but you can turn them on to ensure the appropriate color management of documents on a case-by-case basis. The warning messages vary between applications, but in general you have the following options:

•

(Recommended) Leave the document or imported color data as it is. For example, you can choose to use the embedded profile (if one exists), leave the document without a color profile (if one doesn’t exist), or preserve the numbers in pasted color data.

•

Adjust the document or imported color data. For example, when opening a document with a missing color profile, you can choose to assign the current working space profile or a different profile. When opening a document with a mismatched color profile, you can choose to discard the profile or convert the colors to the current working space. When importing color data, you can choose to convert the colors to the current working space in order to preserve their appearance.

Color Management Policy options

A color management policy determines how the application handles color data when you open a document or import an image. You can choose different policies for RGB and CMYK images, and you can specify when you want warning messages to appear. To display color management policy options, choose Edit > Color Settings.

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To view a description of a policy, select the policy and then position the pointer over the policy name. The description appears at the bottom of the dialog box.

RGB, CMYK, and Gray

Specifies a policy to follow when bringing colors into the current working space (either by opening files or importing images into the current document). (The Grayscale option is available for Photoshop and

GoLive only.) Choose from the following options:

•

Preserve Embedded Profiles

Always preserves embedded color profiles when opening files. This is the recom mended option for most workflows because it provides consistent color management. One exception is if you’re concerned about preserving CMYK numbers, in which case you should select Preserve Numbers (Ignore Linked

Profiles) instead.

•

Convert to Working Space

Converts colors to the current working space profile when opening files and importing images. Select this option if you want to force all colors to use a single profile (the current working space profile).

•

Preserve Numbers (Ignore Linked Profiles)

This option is available in InDesign and Illustrator for CMYK.

Preserves color numbers when opening files and importing images, but still allows you to use color management to view colors accurately in Adobe applications. Select this option if you want to use a safe CMYK workflow. (See

“Using a safe CMYK workflow” on page 204.) 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.

Profile Mismatches: Ask When Opening

Displays a message whenever you open a document tagged with a profile other than the current working space. You will be given the option to override the policy’s default behavior. Select this option if you want to ensure the appropriate color management of documents on a case-by-case basis.

Profile Mismatches: Ask When Pasting

Displays a message whenever color profile mismatches occur as colors are imported into a document via pasting or dragging-and-dropping. You will be given the option to override the policy’s default behavior. Select this option if you want to ensure the appropriate color management of pasted colors on a case-by-case basis.

Missing Profiles: Ask When Opening

Displays a message whenever you open an untagged document. You will be given the option to override the policy’s default behavior. Select this option if you want to ensure the appropriate color management of documents on a case-by-case basis.

Color Conversion options

Color conversion options let you control how the application handles the colors in a document as it moves from one color space to another. Changing these options is recommended only if you are knowledgeable about color management and very confident about the changes you make. To display conversion options, choose Edit > Color

Settings, and select Advanced Mode (Illustrator and InDesign) or More Options (Photoshop).

Engine

Specifies the Color Management Module (CMM) used to map the gamut of one color space to the gamut of another. For most users, the default Adobe (ACE) engine fulfills all conversion needs.

To view a description of an engine or intent option, select the option and then position the pointer over the option name. The description appears at the bottom of the dialog box.

Intent

Specifies the rendering intent used to translate one color space to another. Differences between rendering intents are apparent only when you print a document or convert it to a different working space.

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Use Black Point Compensation

Ensures that the shadow detail in the image is preserved by simulating the full dynamic range of the output device. Select this option if you plan to use black point compensation when printing

(which is recommended in most situations).

Use Dither (Photoshop)

Controls whether to dither colors when converting 8-bit-per-channel images between color spaces. When the Use Dither option is selected, Photoshop mixes colors in the destination color space to simulate a missing color that existed in the source space. Although dithering helps to reduce the blocky or banded appearance of an image, it may also result in larger file sizes when images are compressed for web use.

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. The result of choosing a rendering intent depends on the graphical content of documents and on the profiles used to specify color spaces. Some profiles produce identical results for different rendering intents.

In general, it is best to use the default rendering intent for the selected color setting, which has been tested by Adobe

Systems to meet industry standards. For example, if you choose a color setting for North America or Europe, the default rendering intent is Relative Colorimetric. If you choose a color setting for Japan, the default rendering intent is

Perceptual.

You can select a rendering intent when you set color conversion options for the color management system, soft-proof colors, and print artwork:

Perceptual

Aims to preserve the visual relationship between colors so it’s perceived as natural to the human eye, even though the color values themselves may change. This intent is suitable for photographic images with lots of out-of gamut colors. This is the standard rendering intent for the Japanese printing industry.

Saturation

Tries to produce vivid colors in an image at the expense of color accuracy. This rendering intent is suitable for business graphics like graphs or charts, where bright saturated colors are more important than the exact relationship between colors.

Relative Colorimetric

Compares the extreme highlight of the source color space to that of the destination color space and shifts all colors accordingly. Out-of-gamut colors are shifted to the closest reproducible color in the destination color space. Relative colorimetric preserves more of the original colors in an image than Perceptual. This is the standard rendering intent for printing in North America and Europe

Absolute Colorimetric

Leaves colors that fall inside the destination gamut unchanged. Out of gamut colors are clipped. No scaling of colors to destination white point is performed. This intent aims to maintain color accuracy at the expense of preserving relationships between colors and is suitable for proofing to simulate the output of a particular device. This intent is particularly useful for previewing how paper color affects printed colors.

Advanced controls

In Photoshop you display advanced controls for managing color by choosing Edit > Color Settings and selecting

More Options.

Desaturate Monitor Colors By

Determines whether to desaturate colors by the specified amount when displayed on the monitor. When selected, this option can aid in visualizing the full range of color spaces with gamuts larger than that of the monitor. However, this causes a mismatch between the monitor display and the output. When the option is deselected, distinct colors in the image may display as a single color.

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Blend RGB Colors Using Gamma

Controls how RGB colors blend together to produce composite data (for example, when you blend or paint layers using Normal mode). When the option is selected, RGB colors are blended in the color space corresponding to the specified gamma. A gamma of 1.00 is considered “colorimetrically correct” and should result in the fewest edge artifacts. When the option is deselected, RGB colors are blended directly in the document’s color space.

Note:

When you select Blend RGB Colors Using Gamma, layered documents will look different when displayed in other applications than they do in Photoshop.

Chapter 10: Painting

About painting

Painting methods

Illustrator provides two methods of painting: the existing method used in previous versions of Illustrator and the new Live Paint method.

With the existing method, you can draw an object and assign a fill or stroke to it. You can then draw other objects that you can paint similarly, layering each new object on top of the previous ones. The result is something like a collage made out of shapes cut from colored paper, with the look of the artwork depending on which objects are on top in the stack of layered objects.

With the Live Paint method, you paint more like you would with a traditional coloring tool, without regard to layers or stacking order, which can make for a more natural workflow. All objects in a Live Paint group are treated as if they are part of the same flat surface. This means you can draw several paths and then color separately each area enclosed by these paths (called a

face

). You can also assign different stroke colors to portions of a path between intersections

(called an

edge

). The result is that, much like a coloring book, you can fill each face and stroke each edge with a different color. As you move and reshape paths in a Live Paint group, the faces and edges automatically adjust in response.

221

An object consisting of a single path painted with the existing method has a single fill and a single stroke (left). The same object converted to a

Live Paint group can be painted with a different fill for each face and a different stroke for each edge (right).

Painting with the existing method leaves gaps and overpainting (left). Painting with Live Paint avoids gaps and overpainting (center). Using the Live Paint Selection tool lets you select excess paths and delete them (right).

See also

“About Live Paint” on page 228

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Painting tool gallery

Illustrator provides the following painting tools:

The Paintbrush tool (B) draws freehand and calli graphic lines, as well as art and patterns on paths.

The Mesh tool (U) creates The Gradient tool (G) and edits meshes and mesh adjusts the beginning and envelopes. ending points and angle of gradients within objects.

The Eyedropper tool (I) samples and applies color or type attributes from objects.

The Live Paint Bucket tool

(K) paints faces and edges of

Live Paint groups with the current paint attributes.

The Live Paint Selection tool selects faces and edges within Live Paint groups.

The Measure tool measures the distance between two points.

See also

“About the toolbox” on page 29

Fills and strokes

About fills and strokes

fill

is a color, pattern, or gradient inside an object. You can apply fills to open and closed objects and to faces of

Live Paint groups.

stroke

is the visible outline of an object and the edges of a Live Paint group. You can control the width and color a stroke. You can also create dashed strokes and paint stylized strokes using brushes.

Every object in your artwork can have one or more fills and strokes, or none at all. The current fill and stroke colors are displayed in the toolbox.

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Fill and Stroke controls

To use the Fill and Stroke controls in the toolbox

Do any of the following:

•

Double-click the Fill or Stroke button to select a color using the Color Picker.

•

Click the Swap Fill And Stroke button to swap colors between the fill and the stroke.

•

Click the Default Fill And Stroke button to return to the default color settings (white fill and black stroke).

•

Click the Color button to apply the last-selected solid color to an object with a gradient fill or no stroke or fill.

•

Click the Gradient button to change the currently selected fill to the last-selected gradient.

•

Click the None button to remove the object’s fill or stroke.

See also

“Keys for painting objects” on page 530

“To select colors using the Color Picker” on page 185

About the Stroke palette

You use the Stroke palette to control whether a line is solid or dashed, the dash sequence if it is dashed, the stroke weight, the miter limit, and the styles of line joins and line caps. To display the palette, choose Window > Stroke.

Strokes palette

By default, only the Weight option in the Stroke palette is shown. To show all options, choose Show Options from the palette menu. Alternatively, click the double triangle on the palette’s tab to cycle through the display sizes.

See also

“To change the stroke’s color, width, and alignment” on page 224

“To change the caps or joins of a line” on page 225

“To create dotted or dashed lines” on page 226

“To work with palettes” on page 31

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To apply a color, pattern, or gradient to an object

Select the object. If you use the Selection tool to select a Live Paint group, all of the faces and edges are selected.

To select a face of a Live Paint group, use the Live Paint Selection tool.

Click the Fill box in the toolbox or the Color palette. Doing so indicates that you want to apply a fill rather than a stroke.

Fill box

Select a fill from one of the following:

•

The Control palette.

•

The Color palette.

•

The Swatches palette.

•

A swatch library.

•

The Gradient palette.

Alternatively, double-click the Fill box to select a color using the Color Picker. Click the None button to remove the object’s fill or stroke

To apply a fill to an unselected object, drag a swatch from the Swatches palette onto the object. Alternatively, drag a color from the Fill box in the toolbox, the Color palette, or the Gradient palette onto the object.

The Live Paint Bucket tool can be used to apply a color, pattern, or gradient to a Live Paint group.

Note:

The Paint Bucket tool no longer exists. The new Live Paint Bucket tool is used exclusively for Live Paint groups.

However, you can use the Eyedropper tool and Alt-click (Windows) or Option-click (Mac OS) any object to apply the current attributes, including the current fill and stroke.

See also

“To select faces and edges with the Live Paint Selection tool” on page 267

To change the stroke’s color, width, and alignment

You can change the color, width, and alignment of a stroke by changing the object’s stroke attributes.

Select the object. If you use the selection tool to select a Live Paint group, all of the edges are stroked.

To select an edge of a Live Paint group, use the Live Paint Selection tool.

Click the Stroke box in the toolbox, the Color palette, or the Control palette. Doing so indicates that you want to apply a stroke rather than a fill.

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Stroke box

Select a color from the Color palette or a swatch from the Swatches palette or the Control palette. Alternatively, double-click the Stroke box to select a color using the Color Picker.

Select a weight in the Strokes palette or Control palette.

To apply a stroke color to an unselected object, drag a color from the Stroke box onto the object.

If the object is a closed path, choose an option to select how to align the stroke along the path: Align Stroke To

Center , Align Stroke To Inside , or Align Stroke To Outside .

Note:

It may be difficult to exactly align paths that use different stroke alignment options. For example, if you copy an existing path, change the stroke alignment option for the copy, and then try to align the two paths, some stray pixels may appear at the edge of the paths. This is because the visual result of the stroke alignment is an approximation of the original path, not an exact copy.

See also

“To select faces and edges with the Live Paint Selection tool” on page 267

To change the caps or joins of a line

cap

is the end of an open line; a

join

is where a straight line changes direction (turns a corner). You can change the caps and joins of a line by changing the object’s stroke attributes.

Select the object.

In the Stroke palette, select a cap option and a join option (see “Cap and join options” on page 225).

If the options aren’t showing, choose Show Options from the palette menu.

See also

“About the Stroke palette” on page 223

Cap and join options

Butt Cap

Creates stroked lines with squared ends.

Round Cap

Creates stroked lines with semicircular ends.

Projecting Cap

Creates stroked lines with squared ends that extend half the line width beyond the end of the line.

This option makes the weight of the line extend equally in all directions around the line.

Miter Join

Creates stroked lines with pointed corners. Enter a miter limit between 1 and 500. The miter limit controls when the program switches from a mitered (pointed) join to a beveled (squared-off) join. The default miter limit is 4, which means that when the length of the point reaches four times the stroke weight, the program switches from a miter join to a bevel join. A miter limit of 1 results in a bevel join.

Round Join

Creates stroked lines with rounded corners.

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Bevel Join

Creates stroked lines with squared corners.

To create dotted or dashed lines

You can create a dotted or dashed line by editing an object’s stroke attributes.

Select the object.

In the Stroke palette, select Dashed Line. If the Dashed Line option isn’t showing, choose Show Options from the

Stroke palette menu.

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.

Select a cap option to change the ends of the dashes. The Butt Cap option creates square-ended dashes; the

Round Cap option creates rounded dashes or dots; the Projecting Cap option extends the ends of dashes.

A B C

6 pt dashed lines with dash gaps of 2, 12, 16, 12

Butt cap

Round cap

Projecting cap

See also

“About the Stroke palette” on page 223

To add arrowheads to lines

Select an object or group (or target a layer in the Layers palette).

Choose Effect > Stylize > Add Arrowheads or Filter > Stylize > Add Arrowhead.

Choose from various arrowhead designs for the start and end of the line by clicking the forward and back buttons below the Start and End arrow boxes. The start and end of the line refer to the order in which the line was drawn.

To rescale the size of an arrowhead, enter the percentage you want in the Scale text box. This scales the arrowhead relative to the stroke weight of the line.

Click OK.

If applied as a filter, the resulting arrowheads are distinct objects grouped with the line; the arrowheads can be edited and moved like any other grouped object. If applied as an effect, the arrows are similar to brush strokes; that is, the arrows change location, direction, and color along with the line, but they cannot be edited separately.

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See also

“About targeting” on page 420

“About effects and filters” on page 423

To remove the fill or stroke from an object

Select the object.

Click the Fill box or the Stroke box in the toolbox. Doing so indicates whether you want to remove the object’s fill or its stroke.

Click the None button in the toolbox, the Color palette, or the Swatches palette.

Fill and Stroke boxes

Fill box

Stroke box

None button

Note:

You can also click the None icon in the Fill menu or the Stroke menu in the Control palette.

See also

“About fills and strokes” on page 222

To select objects with the same fill and stroke

Note:

The Select > Same commands do not work with Live Paint groups.

•

To select all objects with the same fill or stroke color, select an object with that fill or stroke color or choose the color from the Color palette or Swatches palette. Then choose Select > Same > Fill Color, Select > Same > Stroke

Color, or Select > Same > Fill & Stroke.

•

To select all objects with the same stroke weight, select an object with that stroke weight or choose the stroke weight from the Stroke palette. Then choose Select > Same > Stroke Weight.

•

To apply the same selection options using a different object (for example, if you have already selected all red objects using the Same > Fill Color command and now you want to search for all green objects), select a new object and then choose Select > Reselect.

To consider the tint of an object when selecting based on color, choose Edit > Preferences > General (Windows) or

Illustrator > Preferences > General (Mac OS), and choose Select Same Tint %. For instance, with this option selected, if you select an object filled with a 50% tint of PANTONE Yellow C and choose Select > Same > Fill Color, Illustrator selects only those objects filled with a 50% tint of that color. With the option deselected, objects with any tint of

PANTONE Yellow C are selected.

To create multiple fills and strokes

You use the Appearance palette to create multiple fills and strokes within 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.

Select one or more objects or groups (or target a layer in the Layers palette).

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Select Add New Fill or Add New Stroke from the Appearance palette menu. Alternatively, select a fill or stroke in the Appearance palette, and click the Duplicate Selected Item button .

Set the color and other properties for the new fill or stroke.

Note:

It may be necessary to adjust the position of the new fill or stroke in the Appearance palette. For example, if you create two strokes of different widths, make sure that the narrower stroke is above the wider stroke in the Appearance palette.

See also

“About targeting” on page 420

“Using the Appearance palette” on page 419

To convert strokes to compound paths

Converting a stroke to a compound path lets you modify the outline of the stroke. For example, you can create a stroke with a varied width or divide the stroke into pieces.

Select the object.

Choose Object > Path > Outline Stroke.

The resulting compound path is grouped with the filled object. To modify the compound path, first ungroup it from the fill or select it with the Group Selection tool.

Use the Layers palette to identify the contents of a group.

See also

“About compound paths” on page 307

“To group or ungroup objects” on page 284

Live Paint groups

About Live Paint

Live Paint is an intuitive way to create colored drawings. A common way for graphic artists to create a colored drawing on canvas or paper is to first draw some strokes, using a tool such as a pen or pencil, and then color in the areas between those strokes, without worrying about how many different strokes were used to surround each area, what order they were drawn in, or how they are connected.

Live Paint translates this natural way of drawing into Illustrator. It lets you use the full range of Illustrator’s vector drawing tools, but treats all the paths you draw as being on the same flat surface. That is, none of the paths is behind or in front of any other. Instead, the paths divide the drawing surface up into areas, any of which can be colored, regardless of whether the area is bounded by a single path, or by segments of multiple paths. The result is that painting objects is like filling in a coloring book or using watercolors to paint a pencil sketch.

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Once you’ve made a Live Paint group, each path remains fully editable. When you move or adjust a path’s shape, the colors that had been previously applied don’t just stay where they were, like they do in natural media paintings or image editing programs. Instead, Illustrator automatically reapplies them to the new regions that are formed by the edited paths.

In short, Live Paint combines the intuitiveness of a painting program with the power and flexibility of a vector illus tration program.

A B C

Adjusting Live Paint paths

Original

Live Paint group

Paths adjusted, Live Painting reflows

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. You can convert these two objects to a Live Paint group with the Object > Live Paint > Make command. As a Live Paint group, the line (edge) dividing the circle creates two faces in the circle. You can fill each face and stroke each edge with a different color using the Live Paint Bucket tool.

Circle and line (left) compared to circle and line after conversion to a Live Paint group and filling faces and stroking edges (right).

Modifying the paths in a Live Paint group modifies existing faces and edges, and can create new ones as well. When you edit a path, Illustrator attempts to color the modified or new faces and edges to get the results you expect.

However, if the results are not what you expect, you can reapply the colors you want.

Live Paint group before (left) and after adjusting paths (right)

As you add more paths to the Live Paint group, you can fill and stroke the new faces and edges that are created.

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Live Paint group before (left) and after adding a new path and painting the new faces and edges created by it (right)

You can use the Live Paint Selection tool to select and then delete faces and edges. Deleting edges causes the fill to merge across any newly expanded faces.

The Live Paint Selection tool acts on the faces and edges of a Live Paint group, the Select tool acts on the entire Live

Paint group, and the Direct Select tool acts on the individual paths inside a Live Paint group. For instance, clicking once with the Selection tool selects the entire Live Paint group, and clicking once with the Direct Selection tool or the Group Selection tool selects individual paths that make up the Live Paint group.

You can use the different selection tools depending on what you want to select and affect in a Live Paint group. For instance, use the Live Paint Selection tool to apply different gradients across different faces in a Live Paint group, and use the Selection tool to apply the same gradient across the entire Live Paint group.

When you modify the paths that make up a Live Paint group, Illustrator paints the resulting faces and edges with the fills and strokes used in the group. For example, if you delete a path that divides a circle in half, the circle is filled with one of the fills previously in the circle. However, Illustrator does not know which of the two fills you want to use.

You can often help guide the results. For instance, before deleting a path that divides a circle, first move it so that the fill you want to keep is larger than the fill you want to remove. Other times you may have to fix the results with the

Live Paint Bucket tool.

Save the fill and stroke colors used in Live Paint groups in the Swatches palette. 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.

Live Paint group before (left) and after selecting and deleting a path (right)

You can also use the Object > Live Paint > Expand command to separate Live Paint groups into their component faces and edges.

Live Paint group before (left) and after applying the Object > Live Paint > Expand command and dragging to separate faces and edges (right)

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See also

“To create a Live Paint group” on page 232

“To select faces and edges with the Live Paint Selection tool” on page 267

Limits to Live Paint groups

Fill and paint attributes are attached to faces and edges of a Live Paint group—not to the actual paths that define them, as in other Illustrator objects. Because of this, some features and commands either work differently or are not applicable to paths inside a Live Paint group.

Features that don’t work on Live Paint groups:

•

Transparency

•

Brushes

•

Effects

•

Gradient meshes

•

Graphs

•

Symbols from the Symbols palette

•

Flares

•

Align Stroke options from the Stroke palette

•

Multiple fills and strokes from the Appearance palette

•

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.)

•

Blend

•

Slice

•

Envelope Distort

•

Clipping Mask > Make

•

Crop Area > Make

•

Create Gradient Mesh

Miscellaneous commands that don’t work on Live Paint groups:

•

Pathfinder commands

•

File > Place

•

View > Guides > Make

•

Select > Same commands

•

Object > Hide

•

Object > Text Wrap > Make

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Commands that act on the entire Live Paint group even if only parts of the group are selected:

•

Object > Rasterize

•

Object > Slice > Make

•

Make Opacity Mask from the Transparency palette menu

See also

“About Live Paint” on page 228

To create a Live Paint group

To use the Live Paint Bucket tool and paint faces and edges, you must first create a Live Paint group.

Select one or more paths, compound paths, or both.

Do one of the following:

•

Choose Object > Live Paint > Make.

•

Select the Live Paint Bucket tool and click the selected object.

Note:

Certain properties may be lost in the conversion to a Live Paint group, such as transparency and effects, while other objects cannot be converted (such as type, bitmap images, and brushes).

See also

“About Live Paint” on page 228

“Keys for working with Live Paint groups” on page 530

To add paths to a Live Paint group

❖

Do any of the following:

•

Using the Selection tool, double-click a Live Paint group so that a double-line gray bounding box appears around the group. Then draw another path. Illustrator adds the new path to the Live Paint group.

•

Select a Live Paint group and the paths you want to add to it. Then choose Object > Live Paint > Add Paths.

•

Select a Live Paint group and the paths you want to add to it. Then click Add Paths in the Control palette.

•

Drag one or more paths in the Layers palette into a Live Paint group in the palette.

Note:

Paths inside a Live Paint group may not exactly align with similar or identical paths outside the Live Paint group.

For example, if you copy some paths and use the copies to create a Live Paint group, there may be slight gaps between the edges of the Live Paint group and the original paths. This is because the visual result of the Live Paint group is a close approximation of the original paths, not an exact copy. Making some of the paths slightly larger or smaller usually solves this.

See also

“About Live Paint” on page 228

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To convert objects to Live Paint groups

Certain types of objects, such as type, bitmap images, and brushes, cannot be directly made into Live Paint groups.

You first need to convert these objects into paths. For example, if you try to convert an object that uses brushes or effects, the complex visual appearance is lost in the conversion to Live Paint. However, you can retain much of the appearance by first converting the objects to regular paths and then converting the resulting paths to Live Paint.

❖

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.

See also

“About Live Paint” on page 228

“To create a Live Paint group” on page 232

To expand or release a Live Paint group

Releasing a Live Paint group changes it to one or more ordinary paths with no fill and a .5-point black stroke.

Expanding a Live Paint group changes it to one or more ordinary paths that are visually similar to the Live Paint group, but are now separate filled and stroked paths. You can then use the Group Selection tool to select and modify these paths separately.

Note:

You can use the Live Paint Selection tool to select, paint, stroke, and delete fills and edges within a Live Paint group.

Select the Live Paint group.

Do one of the following:

•

Choose Object > Live Paint > Expand.

•

Choose Object > Live Paint > Release.

See also

“About Live Paint” on page 228

“To select faces and edges with the Live Paint Selection tool” on page 267

To paint Live Paint faces and edges

The Live Paint Bucket tool lets you paint faces and edges of Live Paint groups with the current fill and stroke attributes. To use the Live Paint Bucket tool and paint faces and edges, you must first create a Live Paint group.

Note:

The Paint Bucket tool no longer exists. The new Live Paint Bucket tool is used exclusively for Live Paint groups.

However, you can use the Eyedropper tool to apply attributes such as fills and strokes to objects.

Select the Live Paint Bucket tool .

Specify the fill or stroke you want.

Do any of the following:

•

Click a face to fill it. (When the pointer is over a face, it changes to a half-filled paint bucket and highlight lines surround the inside of the fill.)

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•

Drag across multiple faces to paint more than one face at a time.

•

Double-click a face to fill across unstroked edges into adjacent faces (flood fill).

•

Triple-click a face to fill all faces of the same fill.

•

Hold down Shift to switch to the opposite Live Paint Bucket tool options. If you currently have both the Paint Fills option and the Paint Strokes option selected, this switches to Paint Fills only. (This can be helpful when you are trying to fill a small face surrounded by stroked edges.)

•

Shift-click an edge to stroke it. (When the pointer is over an edge, it changes to a paint brush and the edge is highlighted.)

Note:

By default, the Live Paint Bucket tool paints faces only, which is why you have to Shift-click an edge to stroke it. To apply stokes without pressing the Shift key, change your Live Paint Bucket tool options.

•

Drag across multiple edges to stroke more than one edge at a time.

•

Double-click an edge to stroke all connected edges of the same color (flood stroke).

•

Triple-click an edge to stroke all edges of the same stroke.

To switch to the Eyedropper tool and sample fills and strokes, Alt-click (Windows) or Option-click (Mac OS) the fill and stroke you want.

See also

“About Live Paint” on page 228

“To use the Fill and Stroke controls in the toolbox” on page 223

“Live Paint Bucket options” on page 234

Live Paint Bucket options

The Live Pain Bucket options let you specify how the Live Paint Bucket tool works, choosing whether to select and paint just fills, just strokes, or both, as well as how to highlight faces and edges as you move the tool over them. You can see these options by double-clicking the Live Paint Bucket tool.

Note:

The Paint Bucket tool no longer exists. The new Live Paint Bucket tool is used exclusively for Live Paint groups.

Paint Fills

Paints the faces of Live Paint groups.

Paint Strokes

Paints the edges of Live Paint groups.

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. You can choose a color from the menu or click the paint swatch to specify a custom color.

Width

Specifies how thick to make the selection highlight.

See also

“About Live Paint” on page 228

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To set Live Paint gap options

The Gap Options dialog box lets you preview and control gaps that may occur in your Live Paint groups. Gaps are small spaces between paths. Often, you don’t want paint to flow though gaps when coloring faces. You could manually edit paths to close gaps, or you can select Gap Detection and fine tune the setting so that Illustrator prevents paint from leaking through the gap size that you specify. Each Live Paint group has its own independent gap settings.

If paint leaks through and paints faces you did not intend, you probably have a gap in your artwork. In this case you can create a new path that closes the gap, edit existing paths to close the gap, or adjust the gap options in the Live

Paint group.

To highlight any gaps as you’re working on a Live Paint group, choose View > Show Live Paint Gaps. This command highlights any gaps found on the currently selected Live Paint group, based on your gap options settings for that group.

Paths that don’t fully intersect can create gaps in your Live Paint artwork. You can avoid this problem by overdrawing paths (that is, extending them past each other). You can then select and delete the excess edges that result or apply a stroke of “None” to them.

Choose Object > Live Paint > Gap Options.

Set any of these options and click OK:

Gap Detection

Specifies whether Illustrator recognizes gaps in Live Paint paths. Note that selecting this option may slow Illustrator when working on large, complex Live Paint groups. In this case, you can choose Close Gaps With

Paths to help speed Illustrator up again.

Paint Stops At

Sets the size of the gap paint can’t flow through.

Custom

Specifies a custom Paint Stops At gap size.

Gap Preview Color

Sets the color for previewing gaps in Live Paint groups. You can choose a color from the menu, or click the color well next to the Gap Preview Color menu to specify a custom color.

Close Gaps With Paths

When gap detection is selected, Illustrator doesn't close any gaps it finds, it simply prevents paint from flowing through them. To close the gaps, edit the paths manually or select Close Gaps With Paths. This option inserts unpainted paths into your Live Paint group that closes gaps. Note that since these paths are unpainted it may appear the gap is still there, but it is not.

Preview

Displays currently detected gaps in Live Paint groups as colored lines, based on the preview color you chose.

Note:

You can also preview gaps by choosing View > Show Live Paint Gaps.

See also

“About Live Paint” on page 228

Brushes

About brushes

Brushes let you stylize the appearance of paths. You can apply brush strokes to existing paths, or you can use the

Paintbrush tool to draw a path and apply a brush stroke simultaneously.

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There are four types of brushes in Illustrator—calligraphic, scatter, art, and pattern. You can achieve the following effects using these brushes:

Calligraphic brushes

Create strokes that resemble those drawn with the angled point of a calligraphic pen and are drawn along the center of the path.

Scatter brushes

Disperse copies of an object (such as a ladybug or a leaf) along the path.

Art brushes

Stretch a brush shape (such as Rough Charcoal) or object shape evenly along the length of the path.

Pattern brushes

Paint a pattern—made of individual

tiles

—that repeats along the path. Pattern brushes can include up to five tiles, for the sides, inner corner, outer corner, beginning, and end of the pattern.

A B C D

Sample brushes

Calligraphic brush

Scatter brush

Art brush

Pattern brush

Scatter brushes and Pattern brushes can often achieve the same effect. However, one way in which they differ is that

Pattern brushes follow the path exactly, while Scatter brushes do not.

Arrows in a Pattern brush bend to follow the path (left), but arrows remain straight in a Scatter brush (right).

About brush libraries and the Brushes palette

Brush libraries

are collections of preset brushes that come with Illustrator. You can open multiple brush libraries to browse through their contents and select brushes. To display a brush library, choose Window > Brush Libraries, and choose a library from the submenu. You can also open brush libraries using the Brushes palette menu.

To automatically open a brush library when you start Illustrator, choose Persistent from the brush library’s palette menu.

The Brushes palette displays brushes for the current file. Whenever you select a brush in a brush library, it is automat ically added to the Brushes palette. Brushes that you create and store in the Brushes palette are associated only with the current file, which means that each Illustrator file can have a different set of brushes in its Brushes palette. To display the Brushes palette, choose Window > Brushes.

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You can customize brush libraries and the Brushes palette in the following ways:

•

To show or hide a type of brush, choose any of the following from the palette menu: Show Calligraphic Brushes,

Show Scatter Brushes, Show Art Brushes, Show Pattern Brushes.

•

To change the view of brushes, choose Thumbnail View or List View from the palette menu.

•

To change the order of brushes in the Brushes palette, drag a brush to a new location. You can move brushes only within their type. For example, you cannot move a Calligraphic brush to the Scatter brush area.

•

To import brushes into the Brushes palette from another file, choose Window > Brushes Libraries > Other Library and select the file.

•

To copy multiple brushes from a brush library to the Brushes palette, drag them to the Brushes palette or choose

Add To Brushes from the brush library’s palette menu.

•

To duplicate a brush in the Brushes palette, drag the brush onto the New Brush button or choose Duplicate

Brush from the Brushes palette menu.

•

To delete the brushes from the Brushes palette, select the brushes and click the Delete Brush button . You can select brushes that aren’t used in a document by choosing Select All Unused from the Brushes palette menu.

•

To create new brush libraries, add the brushes you want to the Brushes palette, and delete any brushes you don’t want. Then choose Save Brush Library from the Brushes palette menu. If you place the library file in the

Presets/Brushes folder inside the Illustrator folder, the library name will appear in the Brush Libraries menu when you restart Illustrator. If you don’t, you can still open the library by choosing Window > Brush Libraries > Other

Library and selecting the library file.

See also

“Keys for the Brushes palette” on page 533

To apply brush strokes

You can apply brush strokes to a line created with any drawing tool, including the Pen tool, Pencil tool, or basic shape tools.

❖

Select the line, and then select a brush in a brush library, the Brushes palette, or the Control palette.

Alternatively, drag a brush onto the line. If the line already has brush strokes applied to it, then the new brush replaces the old brush.

When replacing brush strokes with a different brush, Alt-click (Windows) or Option-click (Mac OS) the new brush to preserve brush-stroke options previously applied to the line.

To draw lines and apply brush strokes simultaneously

Select a brush in a brush library or the Brushes palette.

Select the Paintbrush tool .

Position the pointer where you want the brush stroke to begin, and drag to draw a line. A dotted line follows the pointer as you drag.

Do one of the following:

•

To draw an open line, release the mouse button when the line is the desired shape.

•

To draw a closed shape, hold down Alt (Windows) or Option (Mac OS) as you drag. The Paintbrush tool displays a small loop . Release the mouse button (but not the Alt or Option key) when you are ready to close the shape.

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Illustrator sets down anchor points as you draw. The number of anchor points is determined by the length and complexity of the line and by the Paintbrush tolerance settings.

To adjust the shape of a brushed line after you finish drawing it, first select the line. Then position the Paintbrush tool on the line, and drag until the line is the desired shape. You can use the technique to extend a brushed line as well as change the shape of the line between the existing end points.

See also

“About brush libraries and the Brushes palette” on page 236

“Paintbrush tool options” on page 238

Paintbrush tool options

Double-click the Paintbrush tool to set the following options:

Fidelity

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 or not Illustrator keeps the path selected after you draw it.

Edit Selected Paths

Determines whether or not you can change an existing path with the Paintbrush tool.

Within: _ pixels

Determines how close your mouse or stylus must be to an existing path in order to edit the path with the Paintbrush tool. This option is only available when the Edit Selected Paths option is selected.

To remove brush strokes

Select a brushed line.

In the Brushes palette, choose Remove Brush Stroke from the palette menu or click the Remove Brush Stroke button .

See also

“About brush libraries and the Brushes palette” on page 236

To convert brush strokes to outlines

You can convert brush strokes into outlined paths in order to edit the individual components of a brushed line.

Select a brushed line.

Choose Object > Expand Appearance.

Illustrator places the components of the expanded path in a group. Within the group are a path and a subgroup containing the brush stoke outlines.

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Creating and modifying brushes

About creating brushes

You can create new calligraphic, scatter, art, and pattern brushes based on your own settings. For scatter, art, and pattern brushes, you must first create the artwork you want to use. Follow these guidelines when creating artwork for brushes:

•

The artwork cannot contain gradients, blends, other brush strokes, mesh objects, bitmap images, graphs, placed files, or masks.

•

For art and pattern brushes, the artwork cannot contain type. To achieve a brush-stroke effect with type, create an outline of the type and then create a brush with the outline.

•

For pattern brushes, create up to five pattern tiles (depending on the brush configuration), and add the tiles to the

Swatches palette. (See “To create pattern swatches” on page 256.)

To create brushes

For scatter and art brushes, select the artwork you want to use. For pattern brushes, you can select the artwork for the side tile, but it isn’t necessary.

Click the New Brush button in the Brushes palette. Alternatively, drag the selected artwork to the Brushes palette.

Select the type of brush you want to create, and click OK.

In the Brush Options dialog box, enter a name for the brush, set brush options, and click OK.

See also

“Calligraphic brush options” on page 240

“Scatter brush options” on page 240

“Art brush options” on page 241

“Pattern brush options” on page 241

“Colorization options for brushes” on page 242

To modify brushes

•

To change the options for a brush, double-click the brush in the Brushes palette. 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. Click Leave Strokes to leave pre-existing strokes unchanged, and apply the modified brush to new strokes only.

•

To change the artwork used by a scatter, art, or pattern brush, drag the brush into your artwork and make the changes you want. Then Alt-drag (Windows) or Option-drag (Mac OS) the modified brush onto the original brush in the Brushes palette.

•

To modify a brushed line without updating the corresponding brush, select the line and click the Options Of

Selected Object button in the Brushes palette. Set the options, and click OK.

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See also

“About brush libraries and the Brushes palette” on page 236

Calligraphic brush options

Angle

Determines the angle of rotation for the brush. Drag the arrowhead in the preview, or enter a value in the

Angle text box.

Roundness

Determines roundness of the brush. Drag a black dot in the preview away from or toward the center, or enter a value in the Roundness text box. The higher the value, the greater the roundness.

Diameter

Determines the diameter of the brush. Use the Diameter slider, or enter a value in the Diameter text box.

The pop-up list to the right of each option lets you control variations in the shape of the brush. Select one of the following options:

Fixed

Creates a brush with a fixed angle, roundness, or diameter.

Random

Creates a brush with random variations in angle, roundness, or diameter. Enter a value in the Variation text box to specify the range within which the brush characteristic can vary. For example, when the Diameter value is 15 and the Variation value is 5, the diameter can be 10, or 20, or any value in between.

Pressure

Creates a brush that varies in angle, roundness, or diameter based on the pressure of a drawing stylus. This option is available only if you have a graphics tablet. Enter a value in the Variation text box to specify how much more or less the original value the brush characteristic will vary. For example, when the Roundness value is 75% and the

Variation value is 25%, the lightest stroke is 50% and the heaviest stroke is 100%. The lighter the pressure, the more angular the brush stroke.

Scatter brush options

Size

Controls the size of the objects.

Spacing

Controls the amount of space between objects.

Scatter

Controls how closely objects follow the path independently on each side of the path. The higher the value, the farther the objects are from the path.

Rotation

Controls the angle of rotation of the objects.

Rotation Relative To

Sets the angle of rotation for scattered objects relative to the page or the path. For example, if you select Page, at 0˚ of rotation objects point to the top of the page. If you select Path, at 0˚ of rotation, objects are tangent to the path.

The pop-up list to the right of each option lets you control variations in the shape of the brush. Select one of the following options:

Fixed

Creates a brush with a fixed size, spacing, scattering, and rotation.

Random

Creates a brush with random variations in size, spacing, scattering, and rotation. Enter a value in the

Variation text box to specify the range within which the brush characteristic can vary. For example, when the

Diameter value is 15 and the Variation value is 5, the diameter can be 10, or 20, or any value in between.

Pressure

Creates a brush that varies in angle, roundness, or diameter based on the pressure of a drawing stylus. This option is available only if you have a graphics tablet. Enter a value in the rightmost text box, or use the Maximum slider. Pressure uses the Minimum value for the lightest tablet pressure and the Maximum value for the heaviest pressure. The heavier the stroke, the larger the objects.

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Art brush options

Direction

Determines the direction of the artwork in relation to the line. Click an arrow to set the direction: to place the left side of the art is the end of the stroke; to place the right side of the art is the end of the stroke; to place the top of the art is the end of the stroke; to place the bottom of the art is the end of the stroke.

Width

Adjusts the width of the art relative to its original width.

Proportional

Preserves proportions in scaled art.

Flip Along or Flip Across

Change the orientation of the art in relation to the line.

Pattern brush options

Tile buttons

Let you apply different patterns to different parts of the line. Click a tile button for the tile you want to define, and select a pattern swatch from the scroll list. Repeat to apply pattern swatches to other tiles as needed.

Note:

You must add the pattern tiles you want to use to the Swatches palette before you set pattern brush options. After you create a pattern brush, you can delete the pattern tiles from the Swatches palette if you don’t plan to use them for additional artwork.

A B C D E

Tiles in a pattern brush

Side tile

Outer Corner tile

Inner Corner tile

Start tile

End tile

Scale

Adjusts the size of tiles relative to their original size.

Spacing

Adjusts the space between tiles.

Flip Along or Flip Across

Changes the orientation of the pattern in relation to the line.

Fit

Determines how the pattern fits on the line: Stretch To Fit lengthens or shortens the pattern tile to fit the object.

This option can result in uneven tiling. Add Space To Fit adds blank space between each pattern tile to apply the pattern proportionally to the path. Approximate Path fits tiles to the closest approximate path without changing the tiles. This option applies the pattern slightly inside or outside the path, rather than centered on the path, to maintain even tiling.

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B C

Fit options

Stretch To Fit

Add Space To Fit

Approximate Path

See also

“About patterns” on page 255

“To create corner tiles for brush patterns” on page 259

Colorization options for brushes

The colors that a scatter, art, or pattern brush paints depend on the current stroke color and the colorization method of the brush. To set the colorization method, select one of the following options in the Brush Options dialog box:

None

Displays colors as they appear in the brush in the Brushes palette. Choose None to keep a brush the same colors as in the Brushes palette.

Tints

Displays the brush stroke in tints of the stroke color. Portions of the art that are black become the stroke color, portions that aren’t black become tints of the stroke color, and white remains white. If you use a spot color as the stroke, Tints generates tints of the spot color. Choose Tints for brushes that are in black and white, or when you want to paint a brush stroke with a spot color.

Tints And Shades

Displays the brush stroke in tints and shades of the stroke color. Tints and Shades maintains black and white, and everything between becomes a blend from black to white through the stroke color. Because black is added you may not be able to print to a single plate when using Tints and Shades with a spot color. Choose Tints and

Shades for brushes that are in grayscale.

Hue Shift

Uses the key color in the brush artwork, as shown in the Key Color box. (By default, the key color is the most prominent color in the art.) Everything in the brush artwork that is the key color becomes the stroke color.

Other colors in the brush artwork become colors related to the stroke color. Hue Shift maintains black, white, and gray. Choose Hue Shift for brushes that use multiple colors. To change the key color, click the Key Color eyedropper, move the eyedropper to the preview in the dialog box, and click the color you want to use as the key color. The color in the Key Color box changes. Click the eyedropper again to deselect it.

For information and samples about each choice, click Tips.

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Transparency

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 a blending mode to change how colors interact between overlapping objects.

•

Using opacity masks to create variations in transparency.

•

Applying gradients and meshes that include transparency.

•

Applying effects or graphic styles that include transparency, such as drop shadows.

•

Importing Adobe Photoshop files that include transparency.

It’s important to be aware of when you’re using transparency, because you need to set some extra options when printing and saving transparent artwork. You can display a checkered background grid to identify transparent areas of your artwork by selecting View > Show Transparency Grid. (Choose View > Hide Transparency Grid to hide the transparency grid.) To set options for the transparency grid, choose File > Document Setup, and select Transparency from the menu at the top of the Document Setup dialog box. You can also change the artboard color to simulate what your artwork will look like if printed on colored paper.

See also

“Printing and exporting transparent artwork” on page 484

About the Transparency palette

You use the Transparency palette to specify the opacity and blending mode of objects, to create opacity masks, or to knock out a portion of one object with the overlying portion of a transparent object. To display the palette, choose

Window > Transparency.

You can access additional commands and options in the Transparency palette menu. To use this menu, click the triangle in the upper right corner of the palette.

By default, only the most commonly used options are visible in the Transparency palette. To show all options, choose

Show Options from the palette menu. To show a thumbnail of the selected object in the Transparency palette, choose

Show Thumbnail from the palette menu. Alternatively, click the double triangle on the palette’s tab to cycle through the display sizes.

See also

“To work with palettes” on page 31

To 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.

Select an object or group (or target a layer in the Layers palette).

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If you want to change the opacity of a fill or stroke, select the object, and then select the fill or stroke in the

Appearance palette.

Set the Opacity option in the Transparency palette or Control palette.

To select all objects that use a specific opacity, select an object with that opacity, or deselect everything and enter the opacity value in the Transparency palette. Then choose Select > Same > Opacity.

If you select multiple objects in a layer and change the opacity setting, the transparency of overlapping areas of the selected objects will change relative to the other objects and show an accumulated opacity. In contrast, if you target a layer or group and then change the opacity, the objects in the layer or group are treated as a single object. Only objects

outside

and below the layer or group are visible through the transparent objects. If an object is moved into the layer or group, it takes on the layer’s or group’s opacity, and if an object is moved outside, it doesn’t retain the opacity.

Individual objects selected and set to 50% opacity (left) compared to layer targeted and set to 50% opacity (right)

See also

“About the Transparency palette” on page 243

“About targeting” on page 420

“Using the Appearance palette” on page 419

“Printing and exporting transparent artwork” on page 484

To create a transparency knockout group

In a

transparency knockout group

, the elements of a group do not show through each other.

Group with Knockout Group option deselected (left) compared to selected (right)

In the Layers palette, target the group or layer you want to turn into a knockout group. (See “About targeting” on page 420.)

In the Transparency palette, select Knockout Group. If this option isn’t visible, select Show Options from the palette menu.

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Selecting the Knockout Group option cycles it through three states: on (check mark), off (no mark), and neutral

(square). Use the neutral option when you want to group artwork without interfering with the knockout behavior determined by the enclosing layer or group. Use the off option when you want to ensure that a layer or a group of transparent objects will never knock each other out.

See also

“About the Transparency palette” on page 243

“About targeting” on page 420

“Printing and exporting transparent artwork” on page 484

About opacity masks

opacity mask

uses a

masking object

to alter the transparency of the underlying artwork. Where the mask is white, the artwork is fully visible. Where the mask is black, the artwork is hidden. Shades of gray in the mask result in varying degrees of transparency in the artwork.

A B C D

Creating an opacity mask

Underlying objects

Object with blending mode and transparency

Object filled with black-to-white gradient

C moved over the area of B and masking B

Once the opacity mask is created, a thumbnail of the masking object appears in the Transparency palette to the right of the thumbnail of the masked artwork. (If these thumbnails aren’t visible, choose Show Thumbnails from the palette menu.) By default, masked artwork and masking object are linked (as shown by a link between the thumb nails in the palette). When you move masked artwork, the masking object moves along with it. However, when you move a masking object, the masked artwork doesn’t move. You can unlink the mask in the Transparency palette to lock the mask in place and move the masked artwork independent of it.

Transparency palette displays opacity mask thumbnails: left thumbnail represents masked objects, right thumbnail represents masking objects

You can move masks between Photoshop and Illustrator. Opacity masks in Illustrator convert to layer masks in

Photoshop, and vice versa.

See also

“Printing and exporting transparent artwork” on page 484

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To create opacity masks

•

To create a mask from an existing object, select at least two objects or groups, and choose Make Opacity Mask from the Transparency palette menu. The topmost selected object or group is used as the mask.

•

To create an empty mask, select a single object or group, or target a layer in the Layers palette. Then double-click directly to the right of the thumbnail in the Transparency palette. If the thumbnail isn’t visible, choose Show

Thumbnails from the palette menu. An empty mask is created and Illustrator automatically enters mask-editing mode. Use the drawing tools to draw a mask shape. Click the artwork thumbnail (left thumbnail) in the Trans parency palette to exit mask-editing mode.

Note:

The Clip option sets the mask background to black. Therefore, black objects, such as black type, used to create an opacity mask with the Clip option selected will not be visible. To see the objects, use a different color or deselect the Clip option.

See also

“About the Transparency palette” on page 243

“About targeting” on page 420

To work with opacity masks

You can edit a masking object to change the shape or transparency of the mask. You can also unlink and relink a mask, deactivate and reactivate a mask, or remove a mask altogether.

•

To edit a masking object, click the mask thumbnail (right thumbnail) in the Transparency palette. Alt-click

(Windows) or Option-click (Mac OS) the mask thumbnail to hide all other artwork in the document window. (If the thumbnails aren’t visible, choose Show Thumbnails from the palette menu.) Then use any of the Illustrator editing tools and techniques to edit the mask. Click the artwork thumbnail (left thumbnail) in the Transparency palette to exit mask-editing mode.

•

To unlink a mask, target the masked artwork in the Layers palette, and then click the link symbol between the thumbnails in the Transparency palette. Alternatively, select Unlink Opacity Mask from the Transparency palette menu. The masking object is locked in position and size, and the masked objects can be moved and resized independently of the mask.

•

To relink a mask, target the masked artwork in the Layers palette, and then click the area between the thumbnails in the Transparency palette. Alternatively, select Link Opacity Mask from the Transparency palette menu.

•

To deactivate a mask, target the masked artwork in the Layers palette, and then shift-click the mask thumbnail

(right thumbnail) in the Transparency palette. Alternatively, select Disable Opacity Mask from the Transparency palette menu. When the opacity mask is deactivated, a red x appears over the mask thumbnail in the Transparency palette.

•

To reactivate a mask, target the masked artwork in the Layers palette, and then shift-click the mask thumbnail in the Transparency palette. Alternatively, select Enable Opacity Mask from the Transparency palette menu.

•

To remove an opacity mask, target the masked artwork in the Layers palette, and then select Release Opacity Mask from the Transparency palette menu. The masking object reappears on top of the objects that were masked.

See also

“About the Transparency palette” on page 243

“About targeting” on page 420

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To clip or invert opacity masks

Target the masked artwork in the Layers palette.

Select either of the following options in the Transparency palette:

Clip

Gives the mask a black background which crops the masked artwork to the boundaries of the masking object.

Deselect the Clip option to turn off the clipping behavior. To select clipping for new opacity masks by default, select

New Opacity Masks Are Clipping from the Transparency palette menu.

Invert Mask

Reverses the luminosity values of the masking object, which reverses the opacity of the masked artwork.

For example, areas that are 90% transparent become 10% transparent after the mask is inverted. Deselect the Invert

Mask option to return the mask to the original state. To invert all masks by default, select New Opacity Masks Are

Inverted from the Transparency palette menu.

If these options aren’t visible, select Show Options from the palette menu.

See also

“About the Transparency palette” on page 243

“About targeting” on page 420

To use transparency to shape a knockout

You can use the Opacity & Mask Define Knockout Shape option to make a knockout effect proportional to the object’s opacity. In areas of the mask that are close to 100% opacity, the knockout effect will be strong; in areas with less opacity, the knockout effect will be weaker. For example, if you use a gradient-masked object as a knockout, the underlying object will be knocked out progressively, as if it were being shaded by a gradient. You can create knockout shapes with both vector and raster objects. This technique is most useful for objects that use a blending mode other than Normal.

Do one of the following:

•

To use an opacity mask to shape the knockout, select the masked artwork, and then group it with the objects you want to knock out.

•

To use the alpha channel of a bitmap object to shape the knockout, select a bitmap object that contains trans parency, and then group it with the objects you want to knock out.

Select the group.

In the Transparency palette, select Knockout Group until the option displays a checkmark.

Among the grouped objects, target the masking objects or transparent image in the Layers palette.

In the Transparency palette, select Opacity & Mask Define Knockout Shape.

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A B

C D

Knocking out shapes using a bitmap object

Lighthouse with transparent background

Darken blending mode applied to lighthouse

Lighthouse and moon grouped and Knockout

Group option selected

Opacity & Mask Define Knockout shape option applied to lighthouse

See also

“About the Transparency palette” on page 243

“Printing and exporting transparent artwork” on page 484

“About targeting” on page 420

Blending modes

About blending modes

Blending modes let you vary the ways that the colors of objects blend with the colors of underlying objects. When you apply a blending mode to an object, the effect of the blending mode is seen on any objects that lie beneath the object’s layer or group.

It’s helpful to think in terms of the following color terminology when visualizing a blending mode’s effect:

•

The

blend color

is the original color of the selected object, group, or layer.

•

The

base color

is the underlying color in the artwork.

•

The

resulting color

is the color resulting from the blend.

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A B C

Topmost object with Normal blending (left) compared to Hard Light blending mode (right)

Base colors in underlying objects at 100% opacity

Blend color in topmost object

Resulting colors after applying the Hard Light blending mode to the topmost object

Illustrator provides the following blending modes:

Normal

Paints the selection with the blend color, without interaction with the base color. This is the default mode.

Darken

Selects the base or blend color—whichever is darker—as the resulting color. Areas lighter than the blend color are replaced. Areas darker than the blend color do not change.

Multiply

Multiplies the base color by the blend color. The resulting color is always a darker color. Multiplying any color with black produces black. Multiplying any color with white leaves the color unchanged. The effect is similar to drawing on the page with multiple magic markers.

Color Burn

Darkens the base color to reflect the blend color. Blending with white produces no change.

Lighten

Selects the base or blend color—whichever is lighter—as the resulting color. Areas darker than the blend color are replaced. Areas lighter than the blend color do not change.

Screen

Multiplies the inverse of the blend and base colors. The resulting color is always a lighter color. Screening with black leaves the color unchanged. Screening with white produces white. The effect is similar to projecting multiple slide images on top of each other.

Color Dodge

Brightens the base color to reflect the blend color. Blending with black produces no change.

Overlay

Multiplies or screens the colors, depending on the base color. Patterns or colors overlay the existing artwork, preserving the highlights and shadows of the base color while mixing in the blend color to reflect the lightness or darkness of the original color.

Soft Light

Darkens or lightens the colors, depending on the blend color. The effect is similar to shining a diffused spotlight on the artwork.

If the blend color (light source) is lighter than 50% gray, the artwork is lightened, as if it were dodged. If the blend color is darker than 50% gray, the artwork is darkened, as if it were burned in. Painting with pure black or white produces a distinctly darker or lighter area but does not result in pure black or white.

Hard Light

Multiplies or screens the colors, depending on the blend color. The effect is similar to shining a harsh spotlight on the artwork.

If the blend color (light source) is lighter than 50% gray, the artwork is lightened, as if it were screened. This is useful for adding highlights to artwork. If the blend color is darker than 50% gray, the artwork is darkened, as if it were multiplied. This is useful for adding shadows to artwork. Painting with pure black or white results in pure black or white.

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Difference

Subtracts either the blend color from the base color or the base color from the blend color, depending on which has the greater brightness value. Blending with white inverts the base-color values. Blending with black produces no change.

Exclusion

Creates an effect similar to but lower in contrast than the Difference mode. Blending with white inverts the base-color components. Blending with black produces no change.

Hue

Creates a resulting color with the luminance and saturation of the base color and the hue of the blend color.

Saturation

Creates a resulting color with the luminance and hue of the base color and the saturation of the blend color. Painting with this mode in an area with no saturation (gray) causes no change.

Color

Creates a resulting color with the luminance of the base color and the hue and saturation of the blend color.

This preserves the gray levels in the artwork and is useful for coloring monochrome artwork and for tinting color artwork.

Luminosity

Creates a resulting color with the hue and saturation of the base color and the luminance of the blend color. This mode creates an inverse effect from that of the Color mode.

Note:

The Difference, Exclusion, Hue, Saturation, Color, and Luminosity modes do not blend spot colors—and with most blending modes, a black designated as 100% K knocks out the color on the underlying layer. Instead of 100% black, specify a rich black using CMYK values.

To change the blending mode of artwork

Select an object or group (or target a layer in the Layers palette).

If you want to change the blending mode of a fill or stroke, select the object, and then select the fill or stroke in the

Appearance palette.

In the Transparency palette, choose a blending mode from the pop-up menu.

You can isolate the blending mode to a targeted layer or group in order to leave objects beneath unaffected. To do this, select the target icon to the right of a group or layer in the Layers palette that contains an object using a blending mode. In the Transparency palette, select Isolate Blending. (If the Isolate Blending option isn’t visible, select Show

Options from the Transparency palette menu.)

Group (star and circle) with Isolate Blending option deselected (left) compared to selected (right)

To select all objects that use the same blending mode, select an object with that blending mode, or deselect everything and choose the blending mode in the Transparency palette. Then choose Select > Same > Blending Mode.

See also

“About the Transparency palette” on page 243

“About targeting” on page 420

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“Using the Appearance palette” on page 419

“Printing and exporting transparent artwork” on page 484

Gradients, meshes, and color blends

About gradients, meshes, and color blends

Depending on the effect you want, you can use the following methods to apply blends or color gradients to objects.

•

To apply a graduated blend of colors as you would apply any other color, create a

gradient fill

. Creating a gradient fill is a good way to create a smooth color gradation across one or more objects. You can save a gradient as a swatch to make it easy to apply the gradient to multiple objects.

•

To create a single, multicolored object on which colors can flow in different directions—and transition smoothly from one point to another—create a

mesh object

. By creating a fine mesh on an object and manipulating the color characteristics at each point in the mesh, you can precisely manipulate the coloring of the mesh object. You can also apply color to four mesh points at the same time by clicking the patch between them to create broad color changes on a portion of the object.

•

To create blends of colors, opacities, and shapes between objects, use the Blend command or the Blend tool. You select the beginning and ending shapes, opacities, and colors, and Illustrator creates the intermediate steps to create the final blend.

About the Gradient palette

You use the Gradient palette to create and modify gradients. To display the palette, choose Window > Gradient.

Gradient palette

Gradient Fill box

Gradient Slider

palette menu

Click the Gradient Fill box to apply a gradient to the selected object. Use the Gradient Slider to adjust

gradient stops

(the point at which a gradient changes from one color to the next).

By default, only the most commonly used options are visible in the Gradient palette. To show all options, choose

Show Options from the palette menu. Alternatively, click the double triangle on the palette’s tab to cycle through the display sizes.

See also

“To work with palettes” on page 31

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To apply a gradient in a different direction

Once you have filled an object with a gradient, the Gradient tool lets you modify the gradient by “repainting” the fill along an imaginary line you drag. This tool lets you change the direction of a gradient, change the beginning point and endpoint of a gradient, and apply a gradient across multiple objects.

Fill the object with a gradient. To apply a gradient across multiple objects, fill all the objects with a gradient.

Select the object or objects.

Select the Gradient tool .

Position the pointer where you want to define the beginning point of the gradient, and drag across the object or objects in the direction you want the gradient to be painted.

Release the mouse button where you want to define the endpoint of the gradient.

See also

“To apply a color, pattern, or gradient to an object” on page 224

To create or modify gradients

Do one of the following:

•

To modify an object’s gradient, select the object.

•

To modify a preset gradient, click a gradient swatch in the Swatches palette. (To display only gradients in the palette, click the Show Gradient Swatches button .)

•

To create a new gradient, deselect all objects and click the gradient box at the bottom of the toolbox.

Select a gradient type (Linear or Radial) in the Gradient palette.

If you select Linear, enter an angle of direction for the gradient in the Angle text box. Alternatively, drag the

Gradient tool in the document window to set the angle.

Select colors for the gradient.

Gradient colors are defined by a series of stops in the gradient slider. A

stop

is the point at which a gradient changes from one color to the next and is identified by a square below the gradient slider. The squares in the Gradient palette display the color currently assigned to each gradient stop. With a radial gradient, the leftmost gradient slider defines the center point’s color fill, which radiates outward to the color of the rightmost gradient slider.

You can adjust gradient stops in the following ways:

•

To define the starting and ending colors of a gradient, click the leftmost (starting color) or rightmost (ending color) gradient stop. Then create a color in the Color palette, or Alt-click (Windows) or Option-click (Mac OS) a color swatch in the Swatches palette. Alternatively, drag a color from the Color palette or the Swatches palette onto the gradient stop.

Note:

If you create a gradient between spot colors, you must deselect Convert To Process in the Separation Setup dialog box to print the gradient in individual spot color separations.

•

To add intermediate colors to a gradient, drag a color from the Swatches palette or the Color palette onto the gradient slider. Alternatively, click anywhere below the gradient slider, and then select a color as you would for the starting or ending color. To delete an intermediate color, drag the square off the gradient slider.

•

To adjust the midpoints of the gradient’s color stops (the point at which two color stops are 50%), drag a diamond icon located above the slider or select the icon and enter a value between 0 and 100 in the Location text box.

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•

To adjust the endpoints of the gradient’s color stops, drag the leftmost or rightmost gradient stop below the gradient slider.

Once you create or modify a gradient, save it as a swatch by clicking the New Swatch button in the Swatches palette.

Alternatively, drag the gradient from the Gradient palette or toolbox to the Swatches palette.

See also

“About the Gradient palette” on page 251

“Printing gradients, meshes, and color blends” on page 481

About mesh objects

mesh object

is a multicolored object on which colors can flow in different directions and transition smoothly from one point to another. When you create a mesh object, multiple lines called

mesh lines

crisscross the object and provide a way to easily manipulate color transitions on the object. By moving and editing points on the mesh lines, you can change the intensity of a color shift, or change the extent of a colored area on the object.

At the intersection of two mesh lines is a special kind of anchor point called a

mesh point

. Mesh points appear as diamonds and have all of the same properties as anchor points but with the added capability of accepting color. You can add and delete mesh points, edit the mesh points, or change the color associated with each mesh point.

Anchor points

also appear in the mesh (differentiated by their square rather than diamond shape), and can be added, deleted, edited, and moved as with any anchor points in Illustrator. Anchor points can be placed on any mesh line; you can click an anchor point and drag its direction lines to modify it.

The area between any four mesh points is called the

mesh patch

. You can also change the color of the mesh patch using the same techniques as changing colors on a mesh point.

Diagram of a mesh object

Mesh line

Mesh patch

Mesh point

Anchor point

To 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 imported images.

•

To create a mesh object with an irregular pattern of mesh points, select the Mesh tool , and select a fill color for the mesh points. Then click where you want to position the first mesh point. The object is converted to a mesh object with the minimum number of mesh lines. Continue clicking to add additional mesh points. Shift-click to add a mesh point without changing to the current fill color.

Note:

If you assign a spot color to a mesh point, Illustrator will convert the color to a process color when printing separa tions.

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•

To create a mesh object with a regular pattern of mesh points, select the object and choose Object > Create

Gradient Mesh. Set the number of rows and columns, and select the direction of the highlight from the

Appearance menu: Flat applies the object’s original color evenly across the surface, resulting in no highlight; To

Center creates a highlight in the center of the object; To Edge creates a highlight on the edges of the object. Enter a percentage of white highlight to apply to the mesh object: 100% applies maximum white highlight to the object; a value of 0% applies no white highlight to the object.

•

To convert a gradient-filled object to a mesh object, select the object and choose Object > Expand. 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).

To improve performance and redraw speed, keep the size of mesh objects to a minimum. Complex mesh objects can greatly reduce performance. Therefore, it is better to create a few small, simple mesh objects than to create a single, complex mesh object. When converting complex objects, use the Create Mesh command for the best results.

See also

“To apply a color, pattern, or gradient to an object” on page 224

To edit mesh objects

You can edit a mesh object by adding, deleting, and moving mesh points; changing the color of mesh points and mesh patches; and converting the mesh object back to a regular object.

•

To add a mesh point, select the Mesh tool and select a fill color for the new mesh points. Then click anywhere in the mesh object.

•

To delete a mesh point, Alt-click (Windows) or Option-click (Mac OS) the mesh point with the Mesh tool.

•

To move a mesh point, drag it with the Mesh tool or Direct Selection tool. Shift-drag a mesh point with the Mesh tool to keep the mesh point on a mesh line. This is a convenient way to move a mesh point along a curved mesh line without distorting the mesh line.

Dragging to move mesh point (left) compared to Shift- dragging with the Mesh tool to constrain the point to the mesh line (right)

Note:

When you select the mesh point with the Mesh tool or Direct Selection tool, direction lines appear on it. You can drag the direction lines to edit the mesh point as you would any anchor point. Shift-drag a direction point with the Mesh tool to move all direction lines for the mesh point at once.

•

To change the color of a mesh point or mesh patch, select the mesh object, and the drag a color from the Color palette or Swatches palette onto the point or patch. Alternatively, deselect all objects and select a fill color. Then select the mesh object and use the Eyedropper tool to apply the fill color to mesh points or patches.

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Adding color to a mesh point (left) compared to adding color to a mesh patch (right)

Note:

If you assign a spot color to a mesh point, Illustrator will convert the color to a process color when printing separa tions.

•

To 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.

Patterns

About patterns

Illustrator comes with many patterns that you can access in the Swatches palette and in the Illustrator Extras folder on the Illustrator CD. You can also design patterns from scratch with any of the Illustrator tools and customize existing patterns. Patterns intended for filling objects (

fill patterns

) differ in design and tiling from patterns intended to be applied to a path with the Brushes palette (

brush patterns

). For best results, use fill patterns to fill objects and brush patterns to outline objects.

When designing patterns, it helps to understand how Adobe Illustrator tiles patterns:

•

Patterns tile from left to right from the ruler origin (by default, the bottom left of the artboard) to the opposite side of the artwork. Typically, only one tile makes up a fill pattern. Brush patterns can consist of up to five tiles—for the sides, outer corners, inner corners, and the beginning and end of the path. The additional corner tiles enable brush patterns to flow smoothly at corners. To adjust where all patterns in your artwork begin tiling, you can change the file’s ruler origin.

•

Fill patterns tile perpendicular to the

axis. In contrast, brush patterns tile perpendicular to the path (with the top of the pattern tile always facing outward). Also, corner tiles rotate 90˚ clockwise each time the path changes direction.

•

Fill and brush patterns also tile differently in relation to the

pattern bounding box

—an unfilled and unstroked

(non-printing) rectangle backmost in the artwork. For fill patterns, the bounding box acts as a mask; fill patterns tile only the artwork within the pattern’s bounding box. In contrast, brush patterns tile artwork within the bounding box and protruding from or grouped with it.

See also

“To apply a color, pattern, or gradient to an object” on page 224

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Guidelines for constructing pattern tiles

Follow these general guidelines for constructing pattern tiles:

•

To make the pattern less complex so that it prints more rapidly, remove any unnecessary detail from the pattern artwork, and group objects that are painted with the same color so that they are adjacent in the stacking order.

•

As you create your pattern tile, zoom in on the artwork to align elements more accurately, and then zoom out from the artwork for the final selection.

•

The more complex the pattern, the smaller should be the selection used to create it; however, the smaller the selection (and the pattern tile it creates), the more copies are needed to create the pattern. Thus, a 1-inch-square tile is more efficient than a 1/4-inch-square tile. If you are creating a simple pattern, you can include multiple copies of the object within the selection intended for the pattern tile.

•

To create simple line patterns, layer stroked lines of varying widths and colors, and place an unfilled, unstroked bounding box behind the lines to create a pattern tile.

•

To make an organic or textural pattern appear irregular, vary the tile artwork subtly for a more realistic effect. You can use the Roughen effect to control variations.

•

To ensure smooth tiling, close paths before defining the pattern.

•

Enlarge your artwork view and check for flaws before defining a pattern.

•

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.

•

Corner tiles must be square and have the same height as side tiles to align properly on the path. If you plan to use corner tiles with your brush pattern, align objects in the corner tiles horizontally with objects in the side tiles so that the patterns tile correctly.

•

Create special corner effects for brush patterns using corner tiles.

See also

“To apply a color, pattern, or gradient to an object” on page 224

To create pattern swatches

Create artwork for the pattern following the guidelines in “About patterns” on page 255.

Optionally, to control the spacing between pattern elements or to clip out portions of the pattern, draw a pattern bounding box (an unfilled rectangle) around the artwork you want to use as a pattern. Choose Object > Arrange >

Send To Back to make the rectangle the backmost object. To use the rectangle as a bounding box for a brush or fill pattern, fill and stroke it with None.

Use the Selection tool to select the artwork and bounding box (if any) that will make up the pattern tile.

Do one of the following:

•

Choose Edit > Define Pattern, enter a name in the New Swatch dialog box, and click OK. The pattern displays in the Swatches palette.

•

Drag the artwork to the Swatches palette.

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See also

“About swatches” on page 188

To create seamless, geometric patterns

Make sure that Smart Guides are turned on and that Snap To Point is selected in the View menu.

Select the geometric object. For precise positioning, position the Direct Selection tool on one of the object’s anchor points.

Begin dragging the object vertically from one of its anchor points; then press Alt+Shift (Windows) or

Option+Shift (Mac OS) to copy the object and constrain its movement.

When the copy of the object has snapped into place, release the mouse button and then release the keys.

Using the Group Selection tool, Shift-click to select both objects, and begin dragging the objects horizontally by one of their anchor points; then press Alt+Shift (Windows) or Option+Shift (Mac OS) to create a copy and constrain the move.

Select both objects (left) and drag to create a copy (right).

When the copy of the object has snapped into place, release the mouse button, and then release the keys.

Repeat steps 2 through 6 until you’ve built the pattern you want.

Use the Rectangle tool to do one of the following:

•

For a fill pattern, draw a bounding box from the center point of the upper left object to the center point of the lower right object.

•

For a brush pattern, draw a bounding box that surrounds the objects and coincides with their outer boundaries.

If the pattern is to be a corner tile, hold down Shift as you drag to constrain the bounding box to a square.

Bounding box for a fill pattern (left) compared to the bounding box for a brush pattern (right)

Paint the geometric objects the desired color.

Save the geometric objects as a pattern swatch.

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To construct irregularly textured patterns

Choose View > Snap To Point.

Draw a bounding box. If you are creating a brush pattern, skip to step 13.

Draw the texture with the objects or lines that intersect only the left side of the bounding rectangle.

Using the Direct Selection tool, select the texture and the rectangle, and place the pointer on the lower left corner of the rectangle.

Drag the rectangle to the right; then press Alt+Shift (Windows) or Option+Shift (Mac OS) to create a copy and to constrain the move.

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. Be sure to click Copy instead of OK in the Move dialog box.

Click outside the rectangle to deselect it.

Select the right rectangle, and delete it.

Continue drawing your texture with only the objects or lines that intersect the top side of the rectangle.

When you finish with the top side only, select all of the lines or objects crossing the top side and the bounding box; then press Alt+Shift (Windows) or Option+Shift (Mac OS) and drag downward to create a copy and to constrain the move.

Draw texture on top side of bounding box (left), and then copy texture and rectangle (right).

When the upper left corner point of the copy snaps to the lower left corner point of the rectangle, release the mouse button and then the keys.

Deselect everything.

Select the lower rectangle and any objects that don’t cross the top rectangle, and delete them.

Using the Pencil tool, fill the middle of the rectangle with your texture. Be careful not to intersect any of the rectangle edges. Paint the texture.

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Save the artwork and rectangle as a pattern swatch.

Defining artwork and rectangle as a pattern (left) compared to filling an area with the pattern (right)

To 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.

Choose File > Open, locate a brush pattern file (supplied with Adobe Illustrator) that you want to use, and click

Open.

Choose Window > Brushes. Select the tile you want to use, and drag it to the center of your artwork.

If the tile does not have a square bounding box, create a box that completely encompasses the artwork, the same height as the side tile. (Side tiles can be rectangular.) Fill and stroke the box with None, and choose Object >

Arrange > Send To Back to make the box backmost in your artwork. (The bounding box helps you align the new tile.)

Select the tile and the bounding box.

To create an outer corner tile, use the Rotate tool to rotate the tile and its bounding box 180˚. Skip this step to create an inner corner tile.

Pasted tile (left) compared to same tile rotated 180˚ (right)

Using the Rotate tool, Alt+Shift-click (Windows) or Option+Shift-click (Mac OS) the lower left corner of the bounding box. Enter a value of 90˚, and click Copy to create a copy flush left of the first tile. This tile becomes the corner tile.

Using the Selection tool, drag the left tile down by the top right anchor point, pressing Alt+Shift (Windows) or

Option+Shift (Mac OS) to make a copy and constrain the move so that you create a third tile beneath the second.

When the copy’s upper right anchor point snaps to the corner tile’s lower right anchor point, release the mouse button and Alt+Shift (Windows) or Option+Shift (Mac OS).

You use the third copy for alignment.

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Rotate 90˚ and copy left tile (left), and then Alt-drag (Windows) or Option-drag (Mac OS) a corner tile to make a copy beneath it (right).

Select the artwork in the right tile. Drag it to the left, pressing Alt+Shift (Windows) or Option+Shift (Mac OS) so that the right-tile artwork overlaps that in the corner tile.

Copy (left) and move upper right tile over corner tile (right).

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).

Select all of the tile parts including the bounding box.

Save the new pattern as a swatch.

Double-click the new pattern swatch to bring up the Swatch Options dialog box, name the tile as a variation of the original (for example, use the suffix “outer”), and click OK.

See also

“About creating brushes” on page 239

“Pattern brush options” on page 241

To modify patterns

Make sure that nothing is selected in your artwork.

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In the Swatches palette, select the pattern swatch you want to modify.

Drag the pattern swatch onto your artboard, and edit the pattern tile on the artboard.

Select the pattern tile and Alt-drag (Windows) or Option-drag (Mac OS) the modified pattern on top of the old pattern swatch in the Swatches palette.

The pattern is replaced in the Swatches palette and is updated in the current file.

See also

“To use the Swatches palette” on page 189

“To transform an object’s patterns” on page 292

Chapter 11: Arranging objects

Selecting objects

Before you can modify an object, you need to distinguish it from the objects around it. You do that by

selecting

the object. Once you’ve selected an object, or a part of an object, you can edit it.

Illustrator provides the following selection methods and tools:

•

The Layers palette lets you quickly and precisely select individual or multiple objects. You can select a single object

(even if it’s in a group), all objects within a layer, and entire groups.

•

The Selection tool lets you select objects and groups by clicking or dragging over them. You can also select groups within groups and objects within groups.

•

The Direct Selection tool lets you select individual anchor points or path segments by clicking on them, or select an entire path or group by selecting any other spot on the item. You can also select one or more objects in a group of objects.

•

The Group Selection tool lets you select an object within a group, a single group within multiple groups, or a set of groups within the artwork. Each additional click adds all objects from the next group in the hierarchy.

•

The Lasso tool lets you select objects, anchor points, or path segments by dragging around all or part of the object.

•

The Magic Wand tool lets you select objects of the same color, stroke weight, stroke color, opacity, or blending mode by clicking the object.

•

The Live Paint Selection tool lets you select faces (areas enclosed by paths) and edges (portions of paths between intersections) of Live Paint groups.

•

Selection commands (located in the Select menu) let you quickly select or deselect all objects, and select objects based on their position relative to other objects. You can also select all objects of a specific type or that share specific attributes, and save or load selections.

To temporarily activate the last-used selection tool when using another type of tool, hold down Ctrl (Windows) or

Command (Mac OS).

Selection tool gallery

Illustrator provides the following selection tools:

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The Selection tool (V) selects entire objects.

The Direct Selection tool (A) The Group Selection tool selects points or path segments within objects. selects objects and groups within groups.

The Magic Wand tool (Y) selects objects with similar attributes.

The Lasso tool (Q) selects points or path segments within objects.

See also

“About the toolbox” on page 29

“Keys for selecting” on page 528

To select objects using the Layers palette

In the Layers palette, locate the object you want to select. You may have to click a toggle arrow to expand a layer or group, or scroll up or down in the palette to locate the object.

Do any of the following:

•

To select individual objects, click in the object’s selection column (between the target button and the scroll bar).

Shift-click to add or to remove objects from the selection.

•

To select all artwork in a layer or group, click in the layer’s or group’s selection column.

•

To select all artwork in a layer based on the currently selected artwork, choose Select > Object > All On Same

Layers.

Selection color boxes appear next to each selected item in the palette.

See also

“About the Layers palette” on page 278

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To select objects with the Selection tool

Select the Selection tool .

Do either of the following:

•

Click an object.

•

Drag a marquee around part or all of one or more objects.

To add or remove objects from the selection, hold down Shift and click or drag around the objects you want to add or remove.

Dragging over objects to select them

When the Selection tool is over an unselected object or group, it changes to . When it is over a selected object or group, the tool changes to . When it is over an anchor point on an unselected object, a hollow square appears next to the arrow .

See also

“To use the bounding box” on page 292

“Keys for selecting” on page 528

Selecting filled objects

The Object Selection By Path Only preference determines whether you can select a filled object by clicking anywhere within the object’s area with the Selection or Direct Selection tools, or whether you must click a path segment or anchor point with these tools. By default, this preference is off. In some cases, you may want to turn the preference on—for example, when you work with overlapping filled objects and you want to easily select underlying objects.

To set the Object Selection By Path Only preference, choose Edit > Preferences General (Windows) or Illustrator >

Preferences > General (Mac OS), and select Object Selection By Path Only.

Note:

The Object Selection By Path Only preference is not applicable when selecting unfilled objects or when viewing artwork as outlines. In these cases, you can never select an object by clicking inside the object’s path.

With Object Selection By Path Only deselected, clicking inside the object and dragging selects and moves an object.

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With Object Selection By Path Only selected, dragging with the Direct Selection tool selects points and segments within a marquee.

See also

“To view artwork as outlines” on page 40

To select objects with the Lasso tool

Select the Lasso tool .

Drag around or across the objects.

See also

“Keys for selecting” on page 528

“To select anchor points” on page 158

“To select path segments” on page 158

To select one or more groups with the Selection tool

Select the Selection tool .

Do one of the following to any object that’s within the group:

•

Click the object.

•

Drag around part or all of the object.

To add or remove a group to the selection, hold down Shift while clicking the group to add or remove.

See also

“To group or ungroup objects” on page 284

To select objects and groups within groups with the Selection tool

Select the Selection tool .

Double-click a group. The group is selected and is highlighted with a gray border.

Do any of the following:

•

Double-click to select further down into the group structure.

Double-clicking is a handy way to select objects (as opposed to faces and edges) within a Live Paint group.

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•

Click to select an object within the selected group.

•

Draw to add an object to the selected group.

Double-click outside the group to deselect the group.

See also

“To group or ungroup objects” on page 284

To select a single object within a group

Do one of the following:

•

Select the Group Selection tool , and click the object.

•

Select the Lasso tool , and drag around or across the object’s path.

•

Select the Direct Selection tool , and click within the object, or drag a marquee around part or all of the object’s path.

To add or remove an object or group to the selection (with any selection tool), hold down Shift and select the object to add or remove.

See also

“To group or ungroup objects” on page 284

To select objects and groups with the Group Selection tool

Select the Group Selection tool , and click an object that’s within the group you want to select. The object is selected.

To select the object’s parent group, click the same object again.

Click the same object again to select additional groups that are grouped with the selected group until you have selected everything you want to include in your selection.

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).

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See also

“To group or ungroup objects” on page 284

To select objects with the Magic Wand tool

Select the Magic Wand tool .

Do one of the following:

•

To create a new selection, click the object containing the attributes you want to select. All objects with the same attributes that were clicked are selected.

•

To add to the current selection, press Shift and click another object containing the attributes you want to add. All objects with the same attributes that were clicked are also selected.

•

To subtract from the current selection, press Alt (Windows) or Option (Mac OS) and click the object containing the attributes you want to subtract. All objects with the same attributes are removed from the selection.

By default, the Magic Wand tool selects objects based on fill attributes (such as color and pattern). However, you can customize the Magic Wand tool to select objects based on stroke weight, stroke color, opacity, or blending mode. You can also change the tolerances used by the Magic Wand tool to identify similar objects.

To customize the Magic Wand tool

Do one of the following to open the Magic Wand palette:

•

Double-click the Magic Wand tool in the toolbox.

•

Choose Window > Magic Wand.

To select objects according to their fill color, select Fill Color, and then enter a Tolerance value between 0 and 255 pixels for RGB or 0 and 100 pixels for CMYK.

Low tolerance values select objects that are very similar to the object you click; higher tolerance values select objects with a broader range of the selected property.

Choose Show Stroke Options from the Magic Wand palette 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.

Choose Show Transparency Options from the Magic Wand palette menu and do any of the following:

•

To select objects according to their transparency or blending mode, select Opacity, and then enter a Tolerance value between 0 and 100%.

•

To select objects according to their blending mode, select Blending Mode.

See also

“To work with palettes” on page 31

To select faces and edges with the Live Paint Selection tool

Select the Live Paint Selection tool .

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Move the tool over the Live Paint group until the face or edge you want to select is highlighted. (When the Live

Paint Selection tool is over an edge, the tool changes to .)

Do any of the following:

•

Click to select the highlighted face or edge.

•

Drag across multiple faces or edges to select more than one edge/fill at a time.

•

Double-click a face or edge to select all connected faces/edges of the same color (flood select).

•

Triple-click a face or edge to select all faces/edges of the same color (select same).

If you have difficulty selecting a small face or edge, magnify the view or set the Live Paint Selection tool options to

Select Fills or Select Strokes only.

To add or remove faces and edges from the selection, hold down Shift and click the faces/edges you want to add or remove.

To switch to the Eyedropper tool and sample fills and strokes, Alt-click (Windows) or Option-click (Mac OS) the fill and stroke you want.

See also

“About Live Paint” on page 228

“To customize the Live Paint Selection tool” on page 268

“Keys for working with Live Paint groups” on page 530

To customize the Live Paint Selection tool

Double-click the Live Paint Selection tool in the toolbox.

Set any of the following options, and click OK:

Select Fills

Selects the faces of Live Paint groups (that is, the area within edges).

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. You can choose a color from the menu or click the paint swatch to specify a custom color.

Width

Specifies how thick to make the selection highlight.

See also

“About Live Paint” on page 228

“To select faces and edges with the Live Paint Selection tool” on page 267

To repeat or invert a selection

•

To repeat the last selection command used, choose Select > Reselect.

•

To select all unselected objects, and deselect all selected objects, choose Select > Inverse.

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To select the next object in the stacking order

You can select an object above or below a selected object in the stacking order.

❖

Do one of the following:

•

To select the nearest object above or below the selected object, choose Select > Next Object Above or Select > Next

Object Below.

•

To select the topmost or bottommost object that overlaps the selected object’s area and that is in a different layer, right-click (Windows) or Control-click (Mac OS) and choose First Object Above or Last Object Below from the context menu.

See also

“About the stacking order” on page 282

To select all objects by characteristic

You can select objects based on various groupings, including by formatting attribute, by layer, or by kind, such as brush strokes or clipping masks.

•

To select all objects in a file, choose Select > All. (To deselect all objects, choose Select > Deselect.)

Note:

Using any selection tool, you can also deselect all objects by clicking or dragging at least 2 pixels away from any object.

•

To select all objects with the same attributes, select one with the attribute you want, choose Select > Same, and then choose an attribute from the list (Blending Mode, Fill & Stroke, Fill Color, Opacity, Stroke Color, Stroke

Weight, Style, Symbol Instance, or Link Block Series).

You can also use the Magic Wand tool to select all objects with the same color, stroke weight, stroke color, opacity, or blending mode.

•

To select all objects of a certain kind, deselect all artwork, choose Select > Object, and then choose an object type

(All On Same Layers, Direction Handles, Brush Strokes, Clipping Masks, Stray Points, or Text Objects).

To save a selection

Select one or more objects, and choose Select > Save Selection.

In the Save Selection dialog box, type a name in the Name text box, and click OK.

You can reload a saved selection by choosing the selection name from the bottom of the Select menu. You can also delete or rename a selection by choosing Select > Edit Selection.

Moving objects

You can move objects by dragging them with specific tools, by using the arrow keys on the keyboard, or by entering precise values in a palette or dialog box.

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You can use

snapping

to help you position objects as you move them. For example, you can snap the pointer to guides and anchor points and snap object boundaries to gridlines. You can also use the Align palette to position objects in relation to each other.

You can then use the Shift key to constrain the movement of one or more objects so that they move in a precise horizontal, vertical, or diagonal direction relative to the current orientation of the

and

axes. You can also use the

Shift key to rotate objects in multiples of 45˚.

Hold down Shift while dragging or drawing to limit movement to the nearest 45˚ angle.

See also

“About the Align palette” on page 272

“To work with the grid” on page 42

To move or duplicate objects by pasting

Select one or more objects.

Choose Edit > Cut to move the selection or Edit > Copy to duplicate the selection.

To paste an object into another file, open the file.

Choose one of the following commands:

Edit > Paste

To paste the object into the center of the active window.

Edit > Paste In Front

To paste the object directly in front of the selected object.

Edit > Paste In Back

To paste the object directly in back of the selected object.

See also

“About the Clipboard” on page 286

“About the stacking order” on page 282

“About pasting objects between layers” on page 283

“To duplicate objects by dragging” on page 285

To move an object by dragging

Select one or more objects.

Drag the object to a new location.

If a selected object is filled, you can drag from anywhere on the object. If a selected object is unfilled, if you are viewing artwork as outlines, or if the Object Selection By Path Only preference is selected, you must drag from the object’s path.

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You can use the Snap To Point command in the View menu to have the cursor snap to an anchor point or guide when you drag an object within 2 pixels of the anchor point or guide.

See also

“To drag and drop artwork into a Photoshop document” on page 286

“To drag and drop artwork from Photoshop into Illustrator” on page 286

“To drag and drop artwork to the desktop (Mac OS only)” on page 286

To move an object by using the arrow keys

Select one or more objects.

Press the arrow key for the direction in which you want to move the object. Press Shift+arrow to move the object ten times the value specified by the Keyboard Increment preference.

The distance the object moves each time you press an arrow key is determined by the Keyboard Increment preference. The default distance is 1 point (1/72 of an inch, or .3528 millimeter). To change the Keyboard Increment preference, choose Edit > Preferences > General (Windows) or Illustrator > Preferences > General (Mac OS).

To move objects by a specific distance with the Move command

Select one or more objects.

Choose Object > Transform > Move.

When an object is selected, you can also double-click the Selection, Direct Selection, or Group Selection tool to open the Move dialog box.

Do any of the following:

•

To move the object left or right, enter either a negative value (moves left) or a positive value (moves right) in the

Horizontal text box.

•

To move the object up or down, enter either a negative value (moves down) or positive value (moves up) in the

Vertical text box.

•

To move the object by an angle that’s relative to the object’s

axis, enter either a positive angle (counterclockwise movement) or a negative angle (clockwise movement) in the Distance or Angle text box. You can also enter values between 180˚ and 360˚; these values are converted to their corresponding negative values (for example, a value of

270˚ is converted to –90˚).

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.

Click OK, or click Copy to move a copy of the objects.

180

135

–135

–45

–90

Directions relative to the x axis

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To move objects using x and y coordinates

Select one or more objects.

In the Transform palette or Control palette, 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.

See also

“About the Transform palette” on page 291

To move multiple objects with the Transform Each command

Select one or more objects.

Choose Object > Transform > Transform Each.

Set the distance you want to move the selected objects in the Move section of the dialog box.

Do one of the following:

•

To move the objects by the specified amounts, click OK.

•

To move the objects randomly, but no more than the specified amounts, select the Random option. For example, if you draw a brick wall and want the bricks to appear slightly offset from each other instead of perfectly aligned, you could select the Random option. Then click OK.

See also

“To rotate multiple objects individually” on page 275

“To scale multiple objects with the Transform Each command” on page 295

Aligning and distributing objects

About the Align palette

You use the Align palette 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. To display the Align palette, choose Window > Align.

By default, only the most commonly used options are visible in the Align palette. To show all options, choose Show

Options from the palette menu. Alternatively, click the double triangle on the palette’s tab to cycle through the display sizes.

See also

“To work with palettes” on page 31

To align or distribute objects

Select the objects to align or distribute.

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In the Align palette, do any of the following:

•

To align or distribute relative to the bounding box of all selected objects, click the button for the type of alignment or distribution you want.

•

To align or distribute relative to a specific object, click that object. Then click the button for the type of alignment or distribution you want.

•

To stop aligning and distributing relative to an object, choose Cancel Key Object from the Align palette menu.

•

To align relative to the artboard, select Align To Artboard from the palette menu. Then click the button for the type of alignment you want.

By default, Illustrator calculates alignment and distribution based on the objects’ paths. However, when working with objects that have different stroke weights, you can use the edge of the stroke to calculate alignment and distri bution instead. To do this, select Use Preview Bounds from the Align palette menu.

See also

“About the Align palette” on page 272

To distribute objects by specific amounts

You can distribute objects using exact distances between their paths.

Select the objects to distribute.

In the Align palette, enter the amount of space to appear between objects in the Distribute Spacing text box.

If the Distribute Spacing options aren’t showing, select Show Options from the palette menu.

Select the Selection tool , and then click the path of the object to which you want the other objects to distribute.

The object you click will remain fixed in its position.

Click either the Vertical Distribute Space button or the Horizontal Distribute Space button.

See also

“About the Align palette” on page 272

Rotating objects

Rotating an object turns it around a fixed point that you designate. The default reference point is the object’s center point. If you have multiple objects in a selection, the objects will rotate around a single reference point, which is the center point of the selection or bounding box by default. To rotate each object around its own center point, use the

Transform Each command.

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Results of Rotate tool (left) compared to Transform Each command (right)

To rotate objects using the bounding box

Select one or more objects.

With the Selection tool , move the pointer outside the bounding box and near a bounding box handle so that the pointer changes to , and then drag.

See also

“To use the bounding box” on page 292

To rotate objects with the Free Transform tool

Select one or more objects.

Select the Free Transform tool .

Position the pointer anywhere outside the bounding box so that the pointer changes to , and then drag.

To rotate objects with the Rotate tool

Select one or more objects.

Select the Rotate tool .

Do any of the following:

•

To rotate the object around its center point, drag in a circular motion anywhere in the document window.

•

To rotate the object around a different reference point, click once anywhere in the document window to reposition the reference point. Then move the pointer away from the reference point and drag in a circular motion.

•

To rotate a copy of the object instead of the object itself, hold down Alt (Windows) or Option (Mac OS) after you start to drag.

For finer control, drag farther from the object’s reference point.

To rotate objects by a specific angle

You can control the exact angle of rotation with the Rotate command.

Select one or more objects.

Do one of the following:

•

To rotate around the center point, choose Object > Transform > Rotate, or double-click the Rotate tool.

•

To rotate around a different reference point, select the Rotate tool. Then Alt-click (Windows) or Option-click

(Mac OS) where you want the reference point to be in the document window.

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Enter the rotation angle in the Angle text box. Enter a negative angle to rotate the object clockwise; enter a positive angle to rotate the object counterclockwise.

If the objects contain a pattern fill, select Patterns to rotate the pattern. Deselect Objects if you want to rotate the pattern but not the objects.

Click OK, or click Copy to scale a copy of the objects.

To place multiple copies of the object in a circular pattern around a reference point, move the reference point away from the center of the object, click Copy, and then repeatedly choose Object > Transform > Transform Again.

To rotate objects with the Transform palette

Select one or more objects.

Do one of the following:

•

To rotate the object around its center point, enter a value for the Angle option in the palette.

•

To rotate the object around a different reference point, click a white square on the reference point locator in the palette, and enter a value for the Angle option.

You can also call up the Transform palette by clicking X, Y, W, or H in the Control palette.

See also

“About the Transform palette” on page 291

To rotate multiple objects individually

Select the objects to rotate.

Choose Object > Transform > Transform Each.

Do either of the following in the Rotate section of the dialog box:

•

Click on the angle icon or drag the angle line around the icon.

•

In the Angle text box, enter an angle between –360˚ and 360˚.

Click OK, or click Copy to rotate a copy of each object.

See also

“To move multiple objects with the Transform Each command” on page 272

“To scale multiple objects with the Transform Each command” on page 295

To rotate the x and y axes of a document

By default, the

and

axes are parallel to the horizontal and vertical sides of the document window.

Choose Edit > Preferences > General (Windows) or Illustrator > Preferences > General (Mac OS).

Specify an angle in the Constrain Angle text box. A positive angle rotates the axes counterclockwise; a negative angle rotates the axes clockwise.

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Rotating the axes is useful if your artwork consists of elements that are rotated to the same angle, such as a logo and text displayed on a 20˚ angle. Instead of rotating each element you add to the logo, you can simply rotate the axes by

20˚. Everything you draw is created along the new axes.

y y y x

20 x

Object aligned with default axes (left) compared to alignment with axes rotated 20˚ (right)

The following objects and actions are

not

affected by the new axes:

•

Objects that already exist

•

Rotating and blending

•

Drawing with the Pencil or Auto Trace tool

Reflecting objects

Reflecting an object flips the object across an invisible axis that you specify. You can reflect objects using the Free

Transform tool, the Reflect tool, or the Reflect command.

To create a mirror image of an object, you can copy while reflecting.

To reflect an object with the Free Transform tool

Select the object to reflect.

Select the Free Transform tool.

Do one of the following:

•

Drag a handle of the bounding box past the opposite edge or handle until the object is at the desired level of reflection.

•

To maintain the object’s proportions, hold down Shift while dragging a corner handle past the opposite handle.

To reflect an object with the Reflect tool

Select the object.

Select the Reflect tool .

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.

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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. When you click, the selected object flips over the defined axis.

Click to set one point of the axis (left), then click again to set the other axis point and reflect the object across the axis (right).

•

To reflect a copy of the object, hold down Alt (Windows) or Option (Mac OS) and click to set the second point of the invisible axis.

•

Adjust the axis of reflection by dragging instead of clicking. Shift-drag to constrain the angle by 45˚. As you drag, the invisible axis of reflection rotates around the point you clicked in step 3 and an outline of the object appears reflected. When the outline is in the desired position, release the mouse button.

Dragging the second point of the reflect axis to rotate the axis

For finer control, drag farther from the object’s reference point.

To reflect by specifying an axis

Select the object to reflect.

•

To reflect the object around the object’s center point, choose Object > Transform > Reflect or double-click the

Reflect tool.

•

To reflect the object around a different reference point, Alt-click (Windows) or Option-click (Mac OS) anywhere in the document window.

In the Reflect dialog box, select the axis across which you want the object to be reflected. You can reflect an object across a horizontal, a vertical, or an angled axis.

If the object contains patterns and you want to reflect the patterns, select Patterns. (To reflect only the patterns, deselect Objects.)

To preview the effect before you apply it, select Preview.

Do one of the following:

•

To reflect the object, click OK.

•

To reflect a copy of the object, click Copy.

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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. Think of layers as clear folders that contain artwork. If you reshuffle the folders, you change the stacking order of the items in your artwork. You can move items between folders and create subfolders within folders.

The structure of layers in your document can be as simple or complex as you want it to be. By default, all items are organized in a single, parent layer. However, you can create new layers and move items into them, or move elements from one layer to another at any time. The Layers palette provides an easy way to select, hide, lock, and change the appearance attributes of artwork. You can even create template layers, which you can use to trace artwork, and exchange layers with Photoshop.

About the Layers palette

You use the Layers palette to list, organize, and edit the objects in a document. By default, every new document contains one layer, and each object you create is listed under that layer. However, you can create new layers and rearrange items to best suit your needs. To display the Layers palette, choose Window > Layers.

By default, Illustrator assigns a unique color to each layer in the Layers palette. The color displays in the layer’s selection column when one or more objects within the layer are selected and also displays in the selected object’s selection column. In addition, the same color displays in the document window in the bounding box, path, anchor points, and center point of the selected object. You can use this color to quickly locate an object’s corresponding layer in the Layers palette and you can change this layer color to suit your needs.

When an item in the Layers palette contains other items, a triangle appears to the left of the item’s name. Click the triangle to show or hide the contents. If no triangle appears, the item contains no additional items.

A B C D

Layers palette

Visibility column

Edit column

Target column

Selection column

The Layers palette provides columns to the left and right of the listings. Click in a column to control the following characteristics:

Visibility column

Controls whether items are visible or hidden. The eye icon indicates that the item is visible; a blank space indicates that the item is hidden.

Edit column

Controls whether items are locked or unlocked. The lock icon indicates that the item is locked and cannot be edited; a blank space indicates that the item is unlocked and can be edited.

Target column

Target items in order to apply effects and edit attributes in the Appearance palette. The double ring icon (either or ) indicates that the item is targeted; a single ring icon indicates that the item is not targeted.

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Selection column

Selects items in order to edit them. A selection color box indicates that the item is selected. If an item, such as a layer or group, contains some objects that are selected and other objects that are unselected, a smaller selection color box appears next to the parent item. If all of the objects within the parent item are selected, the selection color box is the same size as the marks that appear next to selected objects.

You can use the Layers palette to display some items as outlines and other items as they will appear in the final artwork. You also can dim linked images and bitmap objects to make it easier to edit artwork on top of the image.

This is especially useful when tracing a bitmap image.

A B C

Display options for layered artwork

Object displayed in Outline view

Bitmap object dimmed to 50%

Selected object displayed in Preview view

See also

“Layer options” on page 280

“To work with palettes” on page 31

“To view artwork as outlines” on page 40

To change the display of the Layers palette

Choose Palette Options from the Layers palette menu.

Select Show Layers Only to hide paths, groups, and collective elements in the Layers palette.

For Row Size, select an option to specify the height of rows. (To specify a custom size, enter a value between 12 and 100.)

For Thumbnails, select a combination of layers, groups, and objects for which to display thumbnail previews.

Note:

Displaying thumbnails in the Layers palette may result in slow performance when you are working with complex files. Turn off layer thumbnails to improve performance.

See also

“About the Layers palette” on page 278

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To create a new layer

In the Layers palette, click the name of the layer above which (or in which) you want to add the new layer.

The layer listing is highlighted and the current-listing indicator appears at the far right in the Layers palette.

Do one of the following:

•

To add a new layer above the selected layer, click the Create New Layer button in the Layers palette.

•

To create a new sublayer inside the selected layer, click the Create New Sublayer button in the Layers palette.

To set options when you create a new layer, choose New Layer or New Sublayer from the Layers palette menu.

See also

“About the Layers palette” on page 278

“Layer options” on page 280

Layer options

You can set options for any item in the Layers palette by double-clicking the item name or clicking the item name and choosing Options For “<item name>” from the Layers palette menu. You can also set options when you create a new layer by choosing New Layer or New Sublayer from the Layers palette menu.

Name

Specifies the name of the item as it appears in the Layers palette.

Color

(Layers only) Specifies the layer’s color setting. You can either choose a color from the menu or double-click the color swatch to select a color.

Template

(Layers only) Makes the layer a template layer.

Lock

Prevents changes to the item.

Show

Displays all artwork contained in the layer on the artboard.

Print

(Layers only) Makes the artwork contained in the layer printable.

Preview

(Layers only) Displays the artwork contained in the layer in color instead of as outlines.

Dim Images

(Layers only) Reduces the intensity of linked images and bitmap images contained in the layer to the specified percentage.

See also

“About the Layers palette” on page 278

To move an object to a different layer

Select the object.

Do one of the following:

•

Click the name of the desired layer in the Layers palette. Then choose Object > Arrange > Send To Current Layer.

•

Drag the selected-art indicator located at the right of the layer in the Layers palette to the layer you want.

You can move objects or layers into a new layer by selecting them and choosing Collect In New Layer from the Layers palette menu. Hold down Ctrl (Windows) or Command (Mac OS) to select nonadjacent items; hold down Shift to select adjacent items.

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See also

“About the Layers palette” on page 278

To 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.

In the Layers palette, click the name of a layer or group.

Do one of the following:

•

To release each item to a new layer, choose Release To Layers (Sequence) from the Layers palette menu.

•

To release items into layers and duplicate objects to create a cumulative sequence, choose Release To Layers (Build) from the Layers palette menu. The bottommost object appears in each of the new layers, and the topmost object only appears in the topmost layer. For example, assume Layer 1 contains a circle (bottommost object), a square, and a triangle (topmost object). This command creates three layers—one with a circle, square, and triangle; one with a circle and square; and one with just a circle. This is useful for creating cumulative animation sequences.

Release To Layers (Build) command creates new layers.

See also

“About the Layers palette” on page 278

To consolidate layers and groups

Merging and flattening layers are similar in that they both let you consolidate objects, groups, and sublayers into a single layer or group. With merging, you can select which items you want to consolidate; with flattening, all visible items in the artwork are consolidated in a single layer. With either option, the stacking order of the artwork remains the same, but other layer-level attributes, such as clipping masks, aren’t preserved.

•

To merge items into a single layer or group, hold down Ctrl (Windows) or Command (Mac OS) and click the names of the layers or groups that you want to merge. Alternatively, hold down Shift to select all listings in between the layer or group names you click. Then select Merge Selected from the Layers palette menu. Note that items will be merged into the layer or group that you selected last.

Layers can only merge with other layers that are on the same hierarchical level in the Layers palette. Likewise, sublayers can only merge with other sublayers that are within the same layer and at the same hierarchical level.

Objects can’t be merged with other objects.

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•

To flatten layers, click the name of the layer into which you want to consolidate the artwork. Then select Flatten

Artwork from the Layers palette menu.

See also

“About the Layers palette” on page 278

To locate an item in the Layers palette

When you select an item in your document window, you can quickly locate the corresponding item in the Layers palette using the Locate Object command. This command is especially helpful for locating items in collapsed layers.

Select an object in the document window. If you select more than one object, the frontmost object in the stacking order will be located.

Choose Locate Object from the Layers palette menu. This command changes to Locate Layer if the Show Layers

Only palette option is selected.

See also

“About the Layers palette” on page 278

Stacking objects

About the stacking order

Illustrator stacks successively drawn objects, beginning with the first object drawn. How objects are stacked deter mines how they display when they overlap. You can change the stacking order (also called the

painting order

) of objects in your artwork at any time using either the Layers palette or Object > Arrange commands.

The stacking order of objects corresponds to the hierarchy of items in the Layers palette. Artwork at the top of the

Layers palette is at the front of the stacking order, while artwork at the bottom of the Layers palette is at the back of the stacking order. Within a layer, objects are also stacked hierarchically. By creating multiple layers in your artwork, you can control how overlapping objects are displayed.

To specify where to add new objects in the stacking order

❖

In the Layers palette, do either of the following:

•

Click the name of the object above which you want to add the new object.

•

To add the new object to the top of a layer or group, click the layer or group name.

Alt+Ctrl-click (Windows) or Option+Command-click (Mac OS) anywhere in the layer list, and type the name or number of the layer you want to select. (For example, you can type

to go to layer 30.)

See also

“About the Layers palette” on page 278

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To change the stacking order using the Layers palette

❖

Do any of the following:

•

Drag the item’s name and release the mouse button when black insertion marks appear in the desired position.

Black insertion marks appear either between two other items in the palette or on the left and right edges of a layer or group. Items that are released over a layer or group are moved above all other objects in the item.

•

Click in the item’s selection column (between the target button and the scroll bar), drag the selection color box to a different item’s selection color box, and release the mouse button. If the item’s selection color box is dragged to an object, the item is moved above the object; if it’s dragged to a layer or group, the item is moved above all other objects in the layer or group.

•

To reverse the order of items in the Layers palette, hold down Ctrl (Windows) or Command (Mac OS) and click the names of the items whose order you want to reverse. The items must be at the same level in the layer hierarchy.

For example, you can select two top-level layers, but you cannot select two paths that are in different layers. Then select Reverse Order from the Layers palette menu.

Note:

You cannot move a path, group, or collective element to the top position in the Layers palette—only layers can reside at the top of the layer hierarchy.

See also

“About the Layers palette” on page 278

To change the stacking order using commands

❖

Do any of the following:

•

To move an object to the top or bottom position in its group or layer, select the object you want to move and choose

Object > Arrange > Bring To Front or Object > Arrange > Send To Back.

•

To move an object by one object to the front or one object to the back of a stack, select the object you want to move, and choose Object > Arrange > Bring Forward or Object > Arrange > Send Backward.

To paste an object relative to other objects

Select the object you want to paste.

Choose Edit > Copy or Edit > Cut.

Select the object in front or in back of which you want to paste.

Choose Edit > Paste In Front or Edit > Paste In Back.

If you paste more than one object, all pasted objects appear in front or in back of the selected artwork. However, the relative painting order among the individual pasted objects remains the same.

About pasting objects between layers

The Paste Remembers Layers option determines where artwork is pasted in the layer hierarchy. By default, Paste

Remembers Layers is off, and artwork is pasted into whichever layer is active in the Layers palette. When Paste

Remembers Layers is on, artwork is pasted into the layer from which it was copied, regardless of which layer is active in the Layers palette.

You set this option by selecting Paste Remembers Layers from the Layers palette menu. A check mark displays when the option is on.

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Turn on Paste Remembers Layers if you’re pasting artwork between documents and you want to automatically place it into a layer of the same name as that from which it originated. If the target document does not have a layer of the same name, Illustrator creates a new layer.

See also

“About the Layers palette” on page 278

Grouping and expanding objects

Grouping 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.

Grouped objects are stacked in succession on the same layer of the artwork and behind the frontmost object in the group; therefore, grouping may change the layering of objects and their stacking order on a given layer. If you select objects in different layers and then group them, the objects are grouped in the layer of the topmost selected object.

Groups can also be

nested

—that is, they can be grouped within other objects or groups to form larger groups. Groups appear as <Group> items in the Layers palette. You can use the Layers palette to move items in and out of groups.

See also

“About the Layers palette” on page 278

“About the stacking order” on page 282

To group or ungroup objects

Select the objects to be grouped or the group to be ungrouped.

Choose either Object > Group or Object > Ungroup.

Expanding objects

Expanding

objects enables you to divide a single object into multiple objects that make up its appearance. For example, if you expand a simple object, such as a circle with a solid-color fill and a stroke, the fill and the stroke each become a discrete object. If you expand more complex artwork, such as an object with a pattern fill, the pattern is divided into all of the distinct paths that created it.

You typically expand an object when you want to modify the appearance attributes and other properties of specific elements within it. In addition, expanding objects may be helpful when you want to use an object that is native to

Illustrator (such as a mesh object) in a different application that doesn’t recognize the object.

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Before (left) and after (right) expanding an object that has a fill and stroke

Expanding is particularly helpful if you are having difficulty printing transparency effects, 3D objects, patterns, gradients, strokes, blends, flares, envelopes, or symbols.

To expand an object

Select the object.

Choose Object > Expand.

If the object has appearance attributes applied to it, the Object > Expand command is dimmed. In this case, choose

Object > Expand Appearance and then choose Object > Expand.

Set Expand options (see “Expand options” on page 285), and click OK.

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.

Expand options

Object

Expands complex objects, including live blends, envelopes, symbol sets, and flares.

Fill

Expands fills.

Stroke

Expands strokes.

Gradient Mesh

Expands gradients to a single mesh object.

Specify

Expands gradients into the number of objects you specify. Higher numbers help maintain a smooth color transition; low numbers can create a more banded appearance.

Duplicating objects

To duplicate objects by dragging

Select one or more objects.

Select the Selection, Direct Selection, or Group Selection.

Alt-drag (Windows) or Option-drag (Mac OS) the selection (but not a handle on the bounding box).

To duplicate objects by using the Layers palette

You can quickly duplicate objects, groups, and entire layers by using the Layers palette.

Select the items you want to duplicate in the Layers palette.

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Do one of the following:

•

Choose Duplicate “

Layer name

” from the Layers palette menu.

•

Drag the item in the Layers palette to the New Layer button at the bottom of the palette.

•

Start to drag the item to a new position in the Layers palette, and then hold down Alt (Windows) or Option

(Mac OS). Release the mouse button when the indicator is in the position where you want to place the duplicated item. If you release the mouse button when the indicator is pointing to a layer or group, the duplicated item is added to the top of the layer or group. If you release the mouse button when the indicator is between items, the duplicated item will be added in the specified position.

About the Clipboard

You can use the Clipboard to transfer selections between an Illustrator file and other Adobe applications including

Adobe Photoshop, Adobe GoLive, and Adobe InDesign. The Clipboard is particularly useful for importing paths because paths are copied to the Clipboard as PostScript language descriptions. Artwork copied to the Clipboard is pasted in PICT format in most applications. However, some applications take the PDF version (such as InDesign) or the AICB version. PDF preserves transparency; AICB lets you specify whether you want to preserve the overall appearance of the selection or copy the selection as a set of paths (which can be useful in Photoshop).

To specify copying preferences, choose Edit > Preferences > File Handling & Clipboard (Windows) or Illustrator >

Preferences > File Handling & Clipboard (Mac OS). Select PDF, AICB, or both. If you select AICB, select Preserve

Paths to discard any transparency in the copied artwork or Preserve Appearance and Overprints to flatten any trans parency, maintain the copied artwork’s appearance, and preserve overprinted objects.

To drag and drop artwork into a Photoshop document

Select the artwork you want to copy.

Open the Photoshop document into which you want to copy the selection.

Do one of the following:

•

To copy the artwork into Photoshop as bitmap images, drag the selection toward the Photoshop window, and when a black outline appears, release the mouse button. To position the selection in the center of the Photoshop image, hold down Shift before dragging the selection. By default, selected objects are copied as bitmap images to the active layer.

•

To copy vector artwork into Photoshop as paths, hold down Ctrl (Windows) or Command (Mac OS), and drag the selection to the Photoshop document. When you release the mouse button, the selection becomes a Photoshop path.

To drag and drop artwork from Photoshop into Illustrator

Open the Photoshop document from which you want to copy.

Select the artwork you want to copy.

Select the Move tool and drag the selection from Photoshop into the Illustrator file.

To drag and drop artwork to the desktop (Mac OS only)

Select the artwork you want to copy.

Drag the selection onto the desktop.

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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.

To offset objects when duplicating

You can create a replica of an object, set off from the selected object by a specified distance, by using the Offset Path command. This is useful when you want to create concentric shapes or make many replications of an object with regular distances between each.

Select one or more objects.

Choose Object > Path > Offset Path.

Specify the offset distance, line join type, and miter limit. (See “Cap and join options” on page 225.)

Click OK.

To offset objects using the Offset Path effect

You can offset an object’s path relative to its original path by using the Offset Path command in the Effect menu. This effect is useful for converting a mesh object into a regular path. For example, if you have released an envelope, or want to convert a mesh shape for use in another application, apply the offset path command with an offset value of

0, and then delete the mesh shape. You can then edit the remaining path.

Select one or more objects.

Choose Effect > Path > Offset Path.

Specify the offset distance, line join type, and miter limit. (See “Cap and join options” on page 225.)

Click OK.

See also

“About effects and filters” on page 423

Locking, hiding, and deleting objects

To lock or unlock objects

Locking objects prevents you from selecting and editing them. You can quickly lock multiple paths, groups, and sublayers by locking their parent layer.

•

To lock objects, click the edit column button (to the right of the eye icon) in the Layers palette for the object or layer you want to lock. Drag across multiple edit column buttons to lock multiple items. Alternatively, select the objects you want to lock, and then choose Object > Lock > Selection.

•

To unlock objects, click the lock icon in the Layers palette for the object or layer you want to unlock.

You can also use the following commands to lock and unlock objects:

•

To lock all objects that overlap the area of the selected object and that are in the same layer, select the object, and then choose Object > Lock > All Artwork Above.

•

To lock all layers other than the layer that contains a selected item or group, choose Object > Lock > Other Layers or choose Lock Others from the Layers palette menu.

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•

To lock all the layers, select all the layers in the Layers palette, and then choose Lock All Layers from the palette menu.

•

To unlock all objects in the document, choose Object > Unlock All.

•

To unlock all objects within a group, select an unlocked and visible object within the group. Hold down Shift+Alt

(Windows) or Shift+Option (Mac OS) and choose Object > Unlock All.

•

If you locked all layers, choose Unlock All Layers from the Layers palette menu to unlock them.

See also

“About the Layers palette” on page 278

To hide objects

Choose from the following methods:

•

In the Layers palette, click the eye icon next to the item you want to hide. Click again to redisplay the item. If you hide a layer or group, all items in the layer or group are hidden.

•

Drag across multiple eye icons to hide multiple items.

•

Select an object you want to hide, and choose Object > Hide > Selection.

•

To hide all objects above an object in a layer, select the object and choose Object > Hide > All Artwork Above.

•

To hide all unselected layers, choose Hide Others from the Layers palette 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. Any previously selected objects are selected.

•

To show all layers and sublayers, select Show All Layers from the Layers palette menu. Hidden objects aren’t displayed by this command, only hidden layers.

•

To show all objects within a group, select an unlocked and visible object in the group. Hold down Shift+Alt

(Windows) or Shift+Option (Mac OS) and choose Object > Show All.

See also

“About the Layers palette” on page 278

To delete objects

❖

Do one of the following:

•

Select the objects and then press Backspace (Windows) or Delete.

•

Select the objects and then choose Edit > Clear or Edit > Cut.

•

Select the items you want to delete in the Layers palette, and then click the Delete icon . Alternatively, drag the item name in the Layers palette to the Delete icon in the palette, or choose Delete

“Layer name”

from the Layers palette menu.

Deleting a layer also deletes all artwork that is in the layer. For example, if you delete a layer that contains sublayers, groups, paths, and clipping sets, all those elements will be deleted along with the layer.

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Note:

A document must have a least one layer. If a document has only one layer, the Delete icon and Delete command are not available.

See also

“About the Layers palette” on page 278

Chapter 12: Reshaping objects

Transforming objects

Transforming

encompasses moving, rotating, reflecting, scaling, and shearing objects. You can transform objects using the Transform palette, Object > Transform commands, and specialized tools. You can also perform many types of transformations by dragging the bounding box for a selection.

Sometimes you may want to repeat the same transformation several times, especially when you are copying objects.

The Transform Again command in the Object menu lets you repeat a move, scale, rotate, reflect, or shear operation as many times as you want, until you perform a different transform operation.

Use the Info palette to view the current dimensions and position of your selection as you transform it.

See also

“About the Transform palette” on page 291

“Scaling objects” on page 293

“Shearing objects” on page 295

“Moving objects” on page 269

“Rotating objects” on page 273

“Reflecting objects” on page 276

Reshaping tool gallery

Illustrator provides the following tools for reshaping objects:

290

The Rotate tool (R) rotates The Reflect tool (O) flips objects around a fixed point. objects over a fixed axis.

The Scale tool (S) resizes The Shear tool skews objects objects around a fixed point. around a fixed point.

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The Reshape tool adjusts selected anchor points while scales, rotates, or skews a keeping the overall detail of selection. the path intact.

The Free Transform tool (E) 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 The Pucker tool deflates an The Bloat tool inflates an swirling distortions within an object by moving control object by moving control object. points towards the cursor. points away from the cursor.

The Scallop tool adds The Crystallize tool adds The Wrinkle tool adds random curved details to the random spiked details to the wrinkle-like details to the outline of an object. outline of an object. outline of an object.

See also

“About the toolbox” on page 29

About the Transform palette

The Transform palette displays information about the location, size, and orientation of one or more selected objects.

By typing new values, you can modify the selected objects or their pattern fills, or both. You can also change the transformation reference point and lock the object’s proportions. To display the palette, choose Window >

Transform.

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All values in the palette refer to the bounding boxes of the objects except for the X and Y values, which refer to the selected reference point.

Transform palette

Reference point locator

Palette menu

Lock proportions icon

To transform an object’s patterns

When you move, rotate, reflect, 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.

•

To specify how you want to transform patterns when using the Transform palette, select an option from the palette menu: Transform Object Only, Transform Pattern Only, or Transform Both.

•

To specify how you want to transform patterns when using a transform command, set the Objects and Patterns options in the corresponding dialog box. For example, select Patterns and deselect Objects if you want to transform the pattern but not the object.

•

To transform patterns but not objects when using a transform tool, hold down the tilde key (~) while dragging.

The borders of the object appear to be transformed, but when you release the mouse button, the borders snap back to their original configuration, leaving only the pattern transformed.

•

To prevent patterns from transforming when using transform tools, choose Edit > Preferences > General

(Windows) or Illustrator > Preferences > Workgroup (Mac OS) and deselect Transform Pattern Tiles.

•

To return an object’s fill pattern to its original state, fill the object with a solid color, and then reselect the desired pattern.

To use the bounding box

When you select one or more objects with the Selection tool, a

bounding box

displays around them. The bounding box lets you move, rotate, duplicate, and scale objects easily by dragging the object or a handle (one of the hollow squares along the bounding box).

•

To hide the bounding box, choose View > Hide Bounding Box.

•

To show the bounding box, choose View > Show Bounding Box.

•

To reorient the bounding box after you rotate it, choose Object > Transform > Reset Bounding Box.

Selected objects before (left) compared to after (right) scaling using the bounding box

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See also

“To scale objects with the bounding box” on page 294

“To move an object by dragging” on page 270

“To rotate objects using the bounding box” on page 274

Scaling 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. To scale strokes and effects, choose Edit >

Preferences > General (Windows) or Illustrator > Preferences > General (Mac OS), and select Scale Strokes &

Effects. If you want to choose whether to scale strokes and effects on a case-by-case basis, use the Transform palette or the Scale command to scale objects.

The Scale Strokes & Effects option scales the object, the drop shadow effect, and the stroke (left); only the object scales when this option is off

(right).

To scale objects with the Scale tool

Select one or more objects.

Select the Scale tool .

Do any of the following:

•

To scale relative to the object’s center point, drag anywhere in the document window until the object is the desired size.

•

To scale relative to a different reference point , click where you want the reference point to be in the document window, move the pointer away from the reference point, and then drag until the object is the desired size.

•

To maintain the object’s proportions as it scales, hold down Shift as you drag diagonally.

To scale the object along a single axis, hold down Shift as you drag vertically or horizontally.

For finer control over scaling, start dragging farther from the reference point.

See also

“Reshaping tool gallery” on page 290

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To scale objects with the bounding box

Select one or more objects.

Select the Selection tool or the Free Transform tool .

Drag a bounding box handle until the object is the desired size.

Objects scale relative to the opposite handle of the bounding box.

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.

See also

“To use the bounding box” on page 292

To scale objects by entering a width and height

Select one or more objects.

In the Transform palette or Control palette, enter a new value in the Width (W) or Height (H) text box, or both.

You can do any of the following before you enter a value to control the scaling behavior:

•

To maintain the objects’ proportions, click the lock proportions button .

•

To change the reference point for scaling, click a white square on the reference point locator .

•

To scale stroked paths and any size-related effects along with the object, select Scale Strokes & Effects from the palette menu.

See also

“About the Transform palette” on page 291

To scale objects by a specific percentage with the Scale command

Select one or more objects.

Do one of the following:

•

To scale from the center, choose Object > Transform > Scale or double-click the Scale tool .

•

To scale relative to a different reference point, select the Scale tool and Alt-click (Windows) or Option-click

(Mac OS) where you want the reference point to be in the document window.

In the Scale dialog box, do one of the following:

•

To maintain the object’s proportions as it scales, select Uniform, and enter a percentage in the Scale text box.

•

To scale the height and width separately, select Non-Uniform, and enter a percentage in the Horizontal and

Vertical text boxes.

The scale factors are relative to the reference point and can be negative or positive.

To scale stroked paths and any size-related effects along with the object, select Scale Strokes & Effects.

If the objects contain a pattern fill, select Patterns to scale the pattern. Deselect Objects if you want to scale the pattern but not the objects.

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Click OK, or click Copy to scale a copy of the objects.

To scale multiple objects with the Transform Each command

Select the objects.

Choose Object > Transform > Transform Each.

Set percentages for horizontal and vertical scaling in the Scale section of the dialog box.

To change the reference point, click a white square on the reference point locator .

Click OK, or click Copy to scale a copy of each object.

See also

“To move multiple objects with the Transform Each command” on page 272

“To rotate multiple objects individually” on page 275

Shearing objects

Shearing an object slants, or skews, the object along the horizontal or vertical axis, or a specified angle that’s relative to a specified axis. Objects shear relative to a reference point which varies depending on the shearing method you choose and can be changed for most shearing methods. You can lock one dimension of an object as you shear it, and you can shear one object or multiple objects simultaneously.

Shearing is useful for creating cast shadows.

Shearing relative to the center (left) compared to shearing relative to a user-defined reference point (right)

To shear objects with the Shear tool

Select one or more objects.

Select the Shear tool .

Do one of the following:

•

To shear relative to the object’s center, drag anywhere in the document window.

•

To shear relative to a different reference point , click anywhere in the document window to move the reference point, move the pointer away from the reference point, and then drag until the object is at the desired slant.

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•

To shear along the object’s vertical axis, drag anywhere in the document window in an up or down direction. To constrain the object to its original width, hold down Shift.

•

To shear along the object’s horizontal axis, drag anywhere in the document window in a left or right direction. To constrain the object to its original height, hold down Shift.

See also

“Reshaping tool gallery” on page 290

To shear objects with the Shear command

Select one or more objects.

Do one of the following:

•

To shear from the center, choose Object > Transform > Shear or double-click the Shear tool.

•

To shear from a different reference point, select the Shear tool and Alt-click (Windows) or Option-click

(Mac OS) where you want the reference point to be in the document window.

In the Shear dialog box, enter a shear angle from -359 to 359. The shear angle is the amount of slant applied to the object in a clockwise direction and is relative to a line that’s perpendicular to the shear axis.

Select the axis along which to shear the object.

If you chose an angled axis, enter a value between –359 and 359, relative to the horizontal axis.

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.

Click OK, or click Copy to shear a copy of the objects.

To shear objects with the Free Transform tool

Select one or more objects.

Select the Free Transform tool .

Do one of the following:

•

To shear along the object’s vertical axis, start dragging the middle-left or middle-right bounding-box handle, and then hold down Ctrl+Alt (Windows) or Option+Command (Mac OS) as you drag up or down. You can also hold down Shift to constrain the object to its original width.

•

To shear along the object’s horizontal axis, start dragging the top-middle or bottom-middle bounding-box handle and then hold down Ctrl+Alt (Windows) or Option+Command (Mac OS) as you drag right or left. You can also hold down Shift to constrain the object to its original height.

See also

“Reshaping tool gallery” on page 290

To shear objects with the Transform palette

Select one or more objects.

In the Transform palette, enter a value in the shear text box.

To change the reference point, click a white square on the reference point locator before you enter the value.

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You can also call up the Transform palette by clicking X, Y, W, or H in the Control palette.

See also

“About the Transform palette” on page 291

Distorting objects

To distort objects with the Free Transform tool

Select one or more objects.

Select the Free Transform tool .

Start dragging a corner handle on the bounding box (not a side handle), and then do one of the following:

•

Hold down Ctrl (Windows) or Command (Mac OS) until the selection is at the desired level of distortion.

•

Hold down Shift+Alt+Ctrl (Windows) or Shift+Option+Command (Mac OS) to distort in perspective.

Distorting in perspective

See also

“To use the bounding box” on page 292

“Reshaping objects with effects” on page 314

To distort objects using a liquify tool

Select a liquify tool.

Click or drag over the objects you want to distort.

You can do the following before you click or drag to control the distortion:

•

To isolate the distortion to specific objects, select the objects.

•

To change the size of the tool cursor and set other tool options, double-click the liquify tool. (See “Liquify tool options” on page 298.)

Note:

You cannot use liquify tools on linked files or objects that contain text, graphs, or symbols.

See also

“Reshaping tool gallery” on page 290

“Reshaping objects with effects” on page 314

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Liquify tool options

Double-click a liquify tool to set tool options.

Width and Height

Controls the size of the tool cursor.

Angle

Controls the orientation of the tool cursor.

Intensity

Specifies the rate of change for the distortion. Higher values equal faster changes.

Use Pressure Pen

Uses the input from a tablet or pen instead of the Intensity value. If you don’t have a pressuresensitive tablet attached, this option is dimmed.

Complexity (Scallop, Crystallize, and Wrinkle tools)

Specifies how closely the results of the particular brush are spaced on the object’s outline. This is closely tied with the Detail value.

Detail

Specifies the spacing between points introduced into the object’s outline (higher values space points closer together).

Simplify (Warp, Twirl, Pucker, and Bloat tools)

Specifies how much you want to reduce the superfluous points that do not measurably affect the overall appearance of the shape.

Twirl Rate (Twirl tool only)

Specifies the rate at which the twirl is applied. Enter a value between –180˚ and 180˚.

Negative values twirl the object clockwise and positive values twirl counterclockwise. The object twirls faster with values that are closer to either –180˚ or 180˚. To twirl slowly, specify a rate close to 0˚.

Horizontal and Vertical (Wrinkle tool only)

Specifies how far apart the control points are placed.

Brush Affects Anchor Points, Brush Affects In Tangent Handles, or Brush Affects Out Tangent Handles (Scallop,

Crystallize, Wrinkle tools)

Enables the tool brush to make changes to these properties.

Envelopes

Envelopes

are objects that distort or reshape selected objects. You can make an envelope out of an object on your artboard, or you can use a preset warp shape or a mesh grid as an envelope. You can use envelopes on any object except graphs, guides, or linked objects (with the exception of TIFF, GIF, and JPEG files).

Mesh grid envelope

Envelope created from another object

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The Layers palette lists envelopes as <Envelope>. 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.

To distort objects using an envelope

Select one or more objects.

Create the envelope using one of the following methods:

•

To use a preset warp shape for the envelope, choose Object > Envelope Distort > Make With Warp. In the Warp

Options dialog box, select a warp style and set options.

•

To set up a rectangular grid for the envelope, choose Object > Envelope Distort > Make With Mesh. In the

Envelope Mesh dialog box, set the number of rows and columns.

•

To use an object as the shape of the envelope, make sure the object is at the top of the stacking order for the selected object. If it’s not, use the Layers palette or an Arrange command to move it up, and reselect all the objects. Then choose Object > Envelope Distort > Make With Top Object.

Reshape the envelope by doing any of the following:

•

Drag any anchor point on the envelope with the Direct Selection or Mesh tool.

•

To delete anchor points on the mesh grid, select an anchor point with either the Direct Selection or Mesh tools, and then press Delete.

•

To add anchor points to the mesh grid, click on the grid with the Mesh tool.

To apply a stroke or fill to an envelope, use the Appearance palette.

See also

“Reshaping objects with effects” on page 314

“Envelope options” on page 300

To edit the contents of an envelope

Select the envelope.

Choose Object > Envelope Distort > Edit Contents.

In the Layers palette, click the triangle to the left of the <Envelope> entry to view its contents. Target the object, and then edit it as desired.

To return the object to its enveloped state, choose Object > Envelope Distort > Edit Envelope.

Note:

When you modify the contents of an envelope, the envelope shifts to recenter the results with the original content.

See also

“Envelope options” on page 300

To reset an envelope

Select the envelope.

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Do one of the following:

•

To reset or switch to a preset warp style, choose Object > Envelope Distort > Reset With Warp. In the Warp

Options dialog box, select a warp style and set options.

•

To reset or switch to a mesh grid envelope, choose Object > Envelope Distort > Reset With Mesh. Specify the number of rows and columns for the mesh grid. Select Maintain Envelope Shape to keep the warp shape intact.

To remove an envelope

You can remove envelopes by either releasing them or expanding them. Releasing an enveloped object creates two separate objects: the object in its original state and the envelope shape. Expanding an enveloped object removes the envelope, but the object retains its distorted shape.

•

To release an envelope, select the envelope, and choose Object > Envelope Distort > Release.

•

To expand an envelope, select the envelope, and choose Object > Envelope Distort > Expand.

Envelope options

Envelope options determine how art is distorted to fit the envelope. To set envelope options, select the envelope object and choose Object > Envelope Distort > Envelope Options.

Anti-Alias

Smooths rasters when distorted with an envelope. Deselecting Anti-Alias can decrease the time it takes to distort rasters.

Preserve Shape Using

Specifies how rasters preserve their shape when distorted by nonrectangular envelopes. Select

Clipping Mask to use a clipping mask on the raster, or Transparency to apply an alpha channel to the raster.

Fidelity

Specifies how precisely you want the object to fit the envelope mold. Increasing the Fidelity percentage can add more points to the distorted paths and increase the time it takes to distort the 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.

Combining objects

Methods of combining objects

You can combine vector objects to create shapes in a variety of ways in Illustrator. The resulting paths or shapes differ depending on the method you use to combine the paths.

Compound paths

Compound paths let you use an object to cut a hole in another object. For example, you can create a doughnut shape from two nested circles. Once you create a compound path, you can no longer select the objects separately; however, you can select and edit the combined path.

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Compound shapes

Compound shapes let you combine multiple objects and specify how you want each object to interact with the other objects. Compound shapes are more versatile than compound paths because they provide four kinds of interactions: add, subtract, intersect, and exclude. In addition, you can select each object within a compound shape to edit it or change its interaction mode.

Pathfinder effects

Pathfinder effects let you combine multiple objects using one of ten interaction modes. Unlike compound shapes, you can’t edit the interactions between objects when you use a Pathfinder effect.

About compound shapes

compound shape

is editable art consisting of two or more objects, each assigned a shape mode. Compound shapes make it easy to create complex shapes because you can precisely manipulate the shape mode, stacking order, shape, location, and appearance of each path included.

Compound shapes act as grouped objects and appear as <Compound Shape> items in the Layers palette. You can use the Layers palette to show, select, and manipulate the contents of a compound shape—for example, to change the stacking order of its components. You can also use the Direct Selection tool or the Group Selection tool to select components of a compound shape.

When you create a compound shape, it takes on the paint and transparency attributes of the topmost component in

Add, Intersect, or Exclude mode. Subsequently, you can change the paint, style, or transparency attributes of the compound shape. Illustrator facilitates this process by automatically targeting the whole compound shape when you select any part of it, unless you explicitly target a component in the Layers palette.

A B

C D

Working with compound shapes

Original objects

Compound shape created

Individual shape modes applied to each component

Style applied to entire compound shape

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To create a compound shape

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 combi nation of shape areas.

Select all the objects you want to be part of the compound shape.

You can include paths, compound paths, groups, other compound shapes, blends, text, envelopes, and warps in a compound shape. Any open paths you select are automatically closed.

Do one of the following:

•

In the Pathfinder palette, click a Shape Modes button. Each component of the compound shape is assigned the shape mode you select.

•

Select Make Compound Shape from the Pathfinder palette menu. Each component of the compound shape is assigned the Add mode by default.

Change the shape mode of any component by selecting it with the Direct Selection tool or Layers palette and clicking a Shape Mode button.

Note that you never need to change the mode of the backmost component, because its mode is not relevant to the compound shape.

To sustain maximum performance, create complex compound shapes by nesting other compound shapes (containing up to about 10 components each) instead of using many individual components.

See also

“About the Pathfinder palette” on page 302

About the Pathfinder palette

You use the Pathfinder palette to combine objects into new shapes. To display the Pathfinder palette, choose

Window > Pathfinder.

The top row of buttons in the palette, called shape modes, let you control the interaction between components of a compound shape. You can choose from the following shape modes:

Add To Shape Area

Adds the area of the component to the underlying geometry.

Subtract from Shape Area

Cuts out the area of the component from the underlying geometry.

Intersect Shape Areas

Uses the area of the component to clip the underlying geometry as a mask would.

Exclude Overlapping Shape Areas

Uses the area of the component to invert the underlying geometry, turning filled regions into holes and vice versa.

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A B

C D

Shape modes

All components in Add mode

Subtract mode applied to squares

Intersect mode applied to squares

Exclude mode applied to squares

The bottom row of buttons in the palette, called pathfinder effects, let you create final shape combinations on the first click. (See “Pathfinder effects” on page 304.)

To modify a compound shape

Use the Direct Selection tool or Layers palette to select an individual component of the compound shape.

Look for the highlighted Shape Mode button in the Pathfinder palette to identify which mode is currently applied to a selected component.

Note:

If you’ve selected two or more components that use different modes, question marks appear on the Shape Mode buttons.

In the Pathfinder palette, click a different Shape Mode button.

See also

“About the Pathfinder palette” on page 302

To 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.

Select the compound shape using the Selection tool or Layers palette.

Do one of the following:

•

Click Expand in the Pathfinder palette.

•

Choose Expand Compound Shape from the Pathfinder palette menu.

The compound shape is converted to a <Path> or <Compound Path> item in the Layers palette, depending on the shape mode it used.

•

Choose Release Compound Shape from the Pathfinder palette menu.

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See also

“About the Pathfinder palette” on page 302

Moving compound shapes between Illustrator and Photoshop

The shape layers and layer clipping paths (vector masks) in Adobe Photoshop are types of compound shapes. You can import shape layers and layer clipping paths into Illustrator as compound shapes and continue to manipulate them. In addition, you can export compound shapes to Photoshop. Keep the following in mind when using compound shapes with Photoshop:

•

Only compound shapes that reside at the top level of the layer hierarchy are exported to Photoshop as shape layers.

•

A compound shape painted with a stroke using a join other than round, or with a weight in points that is not an integer, is rasterized when exported to the PSD file format.

Pathfinder effects

Pathfinder effects let you create new shapes out of overlapping objects. There are two ways to apply Pathfinder effects: using the Effects menu and using the Pathfinder palette.

•

Pathfinder effects in the Effects menu can only be applied to groups and layers. After you apply the effect, you can still select and edit the original objects. You can also use the Appearance palette to modify or remove the effect.

•

Pathfinder effects in the Pathfinder palette can be applied to any combination of objects, groups, and layers. The final shape combination is created when you click a pathfinder button; after that, you cannot edit the original objects. If the effect results in multiple objects, they are automatically grouped together.

See also

“Methods of combining objects” on page 300

“Summary of Pathfinder effects” on page 305

“Pathfinder options” on page 306

To apply a Pathfinder effect using the Effects menu

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.

Choose Effect > Pathfinder and choose a Pathfinder effect.

To quickly apply the same Pathfinder effect again, choose Effect > Apply [effect].

See also

“Summary of Pathfinder effects” on page 305

“To group or ungroup objects” on page 284

“To move an object to a different layer” on page 280

“About targeting” on page 420

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To apply a Pathfinder effect using the Pathfinder palette

Select the objects to which you want to apply the effect.

To apply a Pathfinder effect to a group or layer, target the group or layer.

In the Pathfinder palette, click a pathfinder button (in the bottom row), or Alt-click (Windows) or Option-click

(Mac OS) a Shape Mode button (in the top row).

See also

“About the Pathfinder palette” on page 302

“Summary of Pathfinder effects” on page 305

“Pathfinder options” on page 306

“About targeting” on page 420

Summary of Pathfinder effects

Add

Traces the outline of all objects as if they were a single, merged object. The resulting shape takes on the paint attributes of the top object.

Intersect

Traces the outline of the region overlapped by all the objects.

Exclude

Traces all nonoverlapping areas of the objects, and makes overlapping areas transparent. Where an even number of objects overlap, the overlap becomes transparent. Where an odd number of objects overlap, the overlap becomes filled.

Subtract

Subtracts the frontmost objects from the backmost object. You can use this command to delete areas of an illustration by adjusting the stacking order.

Minus Back

Subtracts the objects in back from the frontmost object. You can use this command to delete areas of an illustration by adjusting the stacking order.

Divide

Separates a piece of artwork into its component filled faces (a

face

is an area undivided by a line segment).

Note:

When you use the Divide button in the Pathfinder palette, you can use the Direct Selection or Group Selection tool to manipulate the resulting faces independently of each other. You can also choose to delete or preserve unfilled objects when applying the Divide command.

Trim

Removes the part of a filled object that is hidden. It removes any strokes and does not merge objects of the same color.

Merge

Removes the part of a filled object that is hidden. It removes any strokes and merges any adjoining or overlapping objects filled with the same color.

Crop

Divides artwork into its component filled faces, and then deletes all the parts of the artwork that fall outside the boundary of the topmost object. It also removes any strokes.

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.

Note:

When you use the Outline button in the Pathfinder palette, 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.

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See also

“Pathfinder options” on page 306

“To mix colors using the Hard Mix or Soft Mix effect” on page 196

“To create a trap” on page 493

Pathfinder options

You can set Pathfinder Options from the Pathfinder palette menu or by double-clicking a Pathfinder effect in the

Appearance palette.

Precision

Affects how precisely the Pathfinder filters calculate an object’s path. The more precise the calculation, the more accurate the drawing and the more time is required to generate the resulting path.

Remove Redundant Points

Removes unnecessary points as you click a Pathfinder button.

Divide And Outline Will Remove Unpainted Artwork

Deletes any unfilled objects in the selected artwork as you click the Divide or Outline button.

Cutting, dividing, and trimming objects

Illustrator provides the following methods to cut, divide, and trim objects:

Divide Objects Below

This command acts as a cookie cutter or stencil, using a selected object to cut through other objects, discarding the original selection.

Knife tool

Cuts objects along a freehand path you draw with the tool, dividing objects into their component filled faces (a

face

is an area undivided by a line segment).

Split Into Grid

This command lets you divide one or more objects into multiple rectangular objects arranged in rows and columns. You can precisely change the height, width, and gutter size between rows and columns, and quickly create guides for laying out artwork.

Compound paths and compound shapes

Let you use an object to cut a hole in another object.

Pathfinder effects

Provide various ways to divide and trim overlapping objects.

Clipping masks

Let you use an object to hide portions of other objects.

See also

“About clipping masks” on page 309

“About compound shapes” on page 301

“Pathfinder effects” on page 304

To cut objects with the Divide Objects Below command

Select the object to use as a cutter, and position it so that it overlaps the objects to cut.

Choose Object > Path > Divide Objects Below.

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To cut objects with the Knife tool

Select the Knife tool .

Do one of the following:

•

To cut in a curved path, drag the pointer over the object.

•

To cut in a straight path, hold down Alt (Windows) or Option (Mac OS) as you click on the artboard with the

Knife tool, and then drag.

See also

“Slicing and cutting tool gallery” on page 444

To divide an object into a grid

Select the object.

If you select more than one object, the resulting grid of objects use the appearance attributes of the topmost object.

Choose Object > Path > Split Into Grid.

Enter the number of rows and columns you want.

(Optional) Do any of the following:

•

To set the size of each row and column, enter values for Height and Width.

•

To set the amount of space that separates rows from one another and columns from one another, enter values for

Gutter.

•

To change the dimensions of the entire grid of objects, enter values for Total.

•

To add guides along the row and column edges, select Add Guides.

Click OK.

See also

“To draw rectangular grids” on page 150

About compound paths

compound path

contains two or more paths that are painted so that holes appear where paths overlap. When you define objects as a compound path, all objects in the compound path take on the paint and style attributes of the backmost object in the stacking order.

Compound paths act as grouped objects and appear as <Compound Path> items in the Layers palette. Use the Direct

Selection tool or the Group Selection tool to select part of a compound path. You can manipulate the shape of individual components of a compound path, but you cannot change appearance attributes, graphic styles, or effects for individual components, and you cannot manipulate components individually in the Layers palette.

If you want more flexibility in the compound path creation, you can create a compound shape and then expand it.

To cut holes in objects using a compound path

Select the object to use as a hole, and position it so that it overlaps the object to cut. Repeat for any additional objects you want to use as holes.

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Select all the objects you want to include in the compound path.

Choose Object > Compound Path > Make.

About filling compound paths

You can specify whether a compound path is a nonzero winding path or an even-odd path. Both the nonzero winding fill rule and the even-odd fill rule use mathematical equations to determine if a point is outside or inside a shape. The even-odd rule is more predictable: every other region within an even-odd compound path is a hole, regardless of path direction. Illustrator uses the nonzero winding rule as the default rule. Photoshop and

Macromedia FreeHand both use the even-odd rule by default, so compound paths imported from either of these applications will use the even-odd rule.

When you create a nonzero winding compound path, you can specify whether overlapping paths appear with holes or are filled by clicking a Reverse Path Direction button in the Attributes palette.

Fill rules

Four circular paths

Circular paths selected, converted into compound path

Reverse Path Direction applied to innermost path

Self-intersecting paths

are paths that intersect themselves. You can choose to make these paths either nonzero winding or even-odd, depending on how you want them to look.

Self-intersecting path with Use Non-Zero Winding Fill Rule (left) compared with Use Even-Odd Fill Rule (right)

To change the fill rule for a compound path

Select the compound path using the Selection tool or Layers palette.

In the Attributes palette, click the Use Non-Zero Winding Fill Rule button or the Use Even-Odd Fill Rule button .

To change a hole in a compound path to a filled area

Make sure that the compound path uses the nonzero winding fill rule.

With the Direct Selection tool, select the part of the compound path to reverse. Do not select the entire compound path.

In the Attributes palette, click the Reverse Path Direction Off button or the Reverse Path Direction On button .

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To return a compound path to its original components

Select the compound path using the Selection tool or Layers palette.

Choose Object > Compound Path > Release.

Clipping masks

About clipping masks

clipping mask

is an object whose shape masks other artwork so that only areas that lie within the shape are visible— in effect, clipping the artwork to the shape of the mask. The clipping mask and the objects that are masked are called a

clipping set

and are marked with a dotted line in the Layers palette. You can make a clipping set from a selection of two or more objects or from all objects in a group or layer.

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 palette if they don’t already reside there.

•

Only vector objects can be clipping masks; however, any artwork can be masked.

•

If you use a layer or group to create a clipping mask, the first object in the layer or group masks everything that is a subset of the layer or group.

•

Regardless of its previous attributes, a clipping mask changes to an object with no fill or stroke.

To create a semitransparent mask, use the Transparency palette to create an opacity mask.

See also

“Cutting, dividing, and trimming objects” on page 306

“To create opacity masks” on page 246

To hide parts of objects with a clipping mask

Create the object you want to use as the mask.

This object is called the

clipping path

. Only vector objects can be clipping paths.

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Move the clipping path above the objects you want to mask in the stacking order.

Select the clipping path and the objects you want to mask.

Choose Object > Clipping Mask > Make.

To use more than one object as a clipping path, group the objects first.

See also

“About the stacking order” on page 282

To create a clipping mask for a group or layer

Create the object you want to use as the mask.

This object is called the

clipping path

. Only vector objects can be clipping paths.

Move the clipping path and the objects you want to mask into a layer or group.

In the Layers palette, 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.

Click the Make/Release Clipping Masks button at the bottom of the Layers palette or select Make Clipping Mask from the Layers palette menu.

See also

“About the Layers palette” on page 278

“About the stacking order” on page 282

To edit a clipping mask

In the Layers palette, select the clipping path.

Do any of the following

•

Move the clipping path by dragging the object’s center reference point with the Direct Selection tool.

•

Reshape the clipping path using the Direct Selection tool.

•

Apply a fill and stroke to a clipping path.

To select all clipping paths in a document, deselect all artwork. Then choose Select > Object > Clipping Masks.

See also

“About the Layers palette” on page 278

To add or remove an object from masked artwork

❖

In the Layers palette, drag the object into or out of the group or layer that contains the clipping path.

See also

“About the Layers palette” on page 278

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To 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 palette, 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 palette, or select Release Clipping Mask from the palette menu.

Because the clipping mask was assigned a fill and stroke value of None, it is now not visible unless you select it or assign it new paint attributes.

See also

“About the Layers palette” on page 278

Blending objects

About blends

The Blend tool and Make Blend command let you create a series of intermediate objects and colors between two or more selected objects. One of the simplest uses for blending is to create and distribute shapes evenly between two objects. You can also blend between two open paths to create a smooth transition between objects, or you can combine blends of colors and objects to create color transitions in the shape of a particular object.

Once you create a blend, the blended objects are treated as one object. If you move one of the original objects, or edit the original object’s anchor points, the blend changes accordingly. In addition, the new objects blended between the original objects don’t have their own anchor points. You can expand the blend in order to divide the blend into distinct objects.

Example of using a blend to distribute shapes evenly between two objects

Example of using a blend to distribute color smoothly between two objects

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Colors in blended objects

The following rules apply to blended objects and their associated colors:

•

You cannot blend between mesh objects.

•

If you blend between one object painted with a process color and another object painted with a spot color, the blended shapes are painted with a blended process color. If you blend between two different spot colors, process colors are used to paint the intermediate steps. If, however, you blend between tints of the same spot color, the steps are all painted with percentages of the spot color.

•

If you blend between two patterned objects, the blended steps will only use the fill of the object on the topmost layer.

•

If you blend between objects that have blending modes specified with the Transparency palette, the blended steps will only use the blending mode of the top object.

•

If you blend between objects with multiple appearance attributes (effects, fills, or strokes), Illustrator attempts to blend the options.

•

If you blend between two instances of the same symbol, blended steps will be instances of that symbol. If, however, you blend between two instances of different symbols, the blended steps will not be symbol instances.

•

By default, blends are created as knockout transparency groups, so that if any of the steps consist of overlapping transparent objects, these objects will not show through each other. You can change this setting by selecting the blend and deselecting Knockout Group in the Transparency palette.

To create a blend with the Blend tool

Select the Blend tool .

Do one of the following:

•

To blend in sequential order with no rotation, click anywhere on each object, but avoid anchor points.

•

To blend to a specific anchor point on an object, click the anchor point with the Blend tool. When the pointer is over an anchor point, the pointer changes from a white square to transparent with a black dot in its center.

•

To blend open paths, select an endpoint on each path.

When you are finished adding objects to the blend, click the Blend tool again.

By default, Illustrator calculates the optimum number of steps to create a smooth color transition. To control the number of steps or distance between steps, set blending options. (See “Blending options” on page 313.)

To create a blend with the Make Blend command

Select the objects you want to blend.

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.

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Blending 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.

Spacing

Determines how many steps are added to the blend.

•

Smooth Color

Lets Illustrator auto-calculate the number of steps for the blends. If objects are filled or stroked with different colors, the steps are calculated to provide the optimum number of steps for a smooth color transition. If the objects contain identical colors, or if they contain gradients or patterns, the number of steps is based on the longest distance between the bounding box edges of the two objects.

•

Specified Steps

Controls the number of steps between the start and end of the blend.

•

Specified Distance

Controls the distance between the steps in the blend. The distance specified is measured from the edge of one object to the corresponding edge on the next object (for example, from the rightmost edge of one object to the rightmost edge of the next).

Orientation

Determines the orientation of blended objects.

•

Align to Page

•

Align to Path

Orients the blend perpendicular to the

axis of the page.

Orients the blend perpendicular to the path.

Align to Page option applied to a blend

Align to Path option applied to a blend

To change the spine of a blended object

The

spine

is the path along which the steps in a blended object are aligned. By default, the spine forms a straight line.

•

To adjust the shape of the spine, drag the anchor points and path segments on the spine with the Direct Selection tool.

•

To replace the spine with a different path, draw an object to use as the new spine. Select the spine object and the blended object, and choose Object > Blend > Replace Spine.

•

To reverse the order of a blend on its spine, select the blended object and choose Object > Blend > Reverse Spine.

See also

“Reshaping paths” on page 157

To reverse the stacking order in a blended object

Select the blended object.

Choose Object > Blend > Reverse Front To Back.

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Original stacking order (top) compared to applying Reverse Front To Back command (bottom)

See also

“About the stacking order” on page 282

To release or expand a blended object

Releasing a blended object removes the new objects and restores the original objects. Expanding a blended object divides the blend into distinct objects, which you can edit individually like any object.

Select the blended object.

Do one of the following:

•

Choose Object > Blend > Release.

•

Choose Object > Blend > Expand.

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.

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You can use the following effects to reshape objects:

Convert To Shape

Converts the shape of vector objects and bitmap images to a rectangle, rounded rectangle, or ellipse. Set the dimensions of the shape using absolute or relative dimensions. For rounded rectangles, specify a corner radius to determine the curvature of the rounded edge.

Distort & Transform

Lets you quickly reshape vector objects.

Free Distort

Lets you change the shape of a vector object by dragging any of four corner points.

Pucker & Bloat

Pulls a vector object’s anchor points outward while curving the segments inward (Pucker) or inward while curving the segments outward (Bloat). Both options pull the anchor points relative to the object’s center point.

Roughen

Transforms a vector object’s path segments into a jagged array of peaks and valleys of various sizes. Set the maximum length for segment paths using an absolute or relative size. Set the density of jagged edges per inch (Detail) and choose between soft edges (Smooth) or sharp edges (Corner).

Transform

Reshapes an object by resizing, moving, rotating, reflecting, and copying it.

Tweak

Randomly curves and distorts path segments inward and outward. Set the vertical and horizontal distortion using an absolute or relative amount. Specify whether or not to modify anchor points, move control points that lead into anchor points on the path (“In” Control Points), and move control points that lead out of anchor points on the path (“Out” Control Points).

Twist

Rotates an object more sharply in the center than at the edges. Entering a positive value twists clockwise; entering a negative value twists counterclockwise.

Zig Zag

Transforms an object’s path segments into a jagged or wavy array of uniformly sized peaks and valleys. Set the length between peaks and valleys using an absolute or relative size. Set the number of ridges per path segment and choose between wavy edges (Smooth) or jagged edges (Corner).

You can achieve the same results with filters (Filter > Distort in the top section of the Filter menu). However, you can’t change a filter after you apply it, whereas you can modify or remove the effect at any time.

Warp

Distorts or deforms objects, including paths, text, meshes, blends, and bitmap images. Choose one of the predefined warp shapes. Then select which axis the bending option affects and specify the amount of bending and distortion to apply.

See also

“About effects and filters” on page 423

“To apply an effect or filter” on page 423

“To modify or delete an effect” on page 426

To round the corners of objects

The Round Corners effect converts the corner points of a vector object to smooth curves.

In the Layers palette, target the items you want to round.

If you want to round a specific attribute of an object, such as its fill or stroke, target the object in the Layers palette and then select the attribute in the Appearance palette.

Choose Effect > Stylize > Round Corners. (The command is located in the first Stylize submenu.)

To define the curvature of the rounded curve, enter a value in the Radius text box, and click OK.

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You can achieve the same results with the Round Corners filter (Filter > Stylize > Round Corners). However, you can’t change a filter after you apply it, whereas you can modify or remove the effect at any time.

See also

“About effects and filters” on page 423

“To apply an effect or filter” on page 423

“To modify or delete an effect” on page 426

Creating 3D objects

3D effects enable you to create three-dimensional (3D) objects from two-dimensional (2D) artwork. You can control the appearance of 3D objects with lighting, shading, rotation, and other properties. You can also map artwork onto each surface of a 3D object.

There are two ways to create a 3D object: by extruding or revolving. In addition, you can also rotate a 2D or 3D object in three dimensions.

Extruding 3D objects

Extruding extends a 2D object along the object’s

axis to add depth to the object. For example, if you extrude a 2D ellipse, it becomes a cylinder.

Note:

The object’s axis always lies perpendicular to the object’s front surface and moves relative to the object if the object is rotated in the 3D Options dialog box.

y y x

Extruding an object

z x

Revolving 3D objects

Revolving sweeps a path or

profile

in a circular direction around the global

axis (revolve axis) to create a 3D object.

Because the revolve axis is vertically fixed, the open or closed path that you revolve typically needs to depict half of the desired 3D object’s profile in a vertical and front-facing position; you can then rotate the 3D object’s position in the effect’s dialog box.

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Revolving an object

Note:

3D objects may display anti-aliasing artifacts on screen, but these artifacts won’t print or appear in artwork optimized for the web.

To apply or modify 3D effects for an existing 3D object, select the object and then double-click the effect in the

Appearance palette.

To create a 3D object by extruding

Select the object.

Choose Effect > 3D > Extrude & Bevel.

Click More Options to view the complete list of options, or Fewer Options to hide the extra options.

Select Preview to preview the effect in the document window.

Specify options:

Position

Sets how the object is rotated and the perspective from which you view it. (See “To set 3D rotation position options” on page 318.)

Extrude & Bevel

Determines the object’s depth and the extent of any bevel added to or cut from it. (See “Extrude &

Bevel options” on page 319.)

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 321.)

Lighting

Adds one or more lights, varies the light intensity, changes the object’s shading color, and moves lights around the object, for dramatic effects. (See “Lighting options” on page 322.)

Map

Maps artwork onto the surfaces of a 3D object. (See “To map artwork to a 3D object” on page 323.)

Click OK.

Extruded object without a beveled edge (left) compared to object with Bevel Extent In (middle) and with Bevel Extent Out (right)

To create a 3D object by revolving

Select the object.

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Note:

Applying the 3D Revolve effect to one or more objects simultaneously revolves each object around its own axis.

Each object resides in its own 3D space and can’t intersect other 3D objects. Applying the Revolve effect to a targeted group or layer, on the other hand, revolves the objects around a single axis.

Revolving a filled path with no stroke is much faster than revolving a stroked path.

Choose Effect > 3D > Revolve.

Select Preview to preview the effect in the document window.

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 “To set 3D rotation position options” on page 318.)

Revolve

Determines how to sweep the path around the object to turn it into three dimensions. (See “Revolve options” on page 320.)

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 321.)

Lighting

Adds one or more lights, varies the light intensity, changes the object’s shading color, and moves lights around the object, for dramatic effects. (See “Lighting options” on page 322.)

Map

Maps artwork onto the surfaces of a 3D object. (See “To map artwork to a 3D object” on page 323.)

Click OK.

To rotate an object in three dimensions

Select the object.

Choose Effect > 3D > Rotate.

Select Preview to preview the effect in the document window.

Click More Options to view the complete list of options, or Fewer Options to hide the extra options.

Specify options:

Position

Sets how the object is rotated and the perspective from which you view it. (See “To set 3D rotation position options” on page 318.)

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 321.)

Click OK.

To set 3D rotation position options

❖

Do any of the following:

•

Choose a preset position from the Position menu.

•

For unconstrained rotation, drag a track cube face. The front of the object is represented by the track cube’s blue face, the object’s top and bottom faces are light gray, the sides are medium gray, and the back face is dark gray.

•

To constrain the rotation along a global axis, hold down Shift while dragging horizontally (global

axis) or verti cally (global

axis). To rotate the object around the global

axis, drag in the blue band that surrounds the track cube.

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•

To constrain the rotation around an object axis, drag an edge on the track cube. The pointer changes to a doublesided arrow , and the cube edge changes color to identify the axis around which the object will rotate. Red edges represent the object’s

axis, green edges represent the object’s

axis, and blue edges represent the object’s

axis.

•

Enter values between –180 and 180 in the horizontal (

) axis , vertical (

) axis , and depth (

) axis text boxes.

•

To adjust the perspective, enter a value between 0 and 160 in the Perspective text box. A smaller lens angle is similar to a telephoto camera lens; a larger lens angle is similar to a wide-angle camera lens.

Note:

A lens angle that is higher than 150 may result in objects extending beyond your point of view and appearing distorted. Also, keep in mind that there are object x, y, and z axes and global x, y, and z axes. Object axes remain relative to an object’s position in its 3D space. Global axes remain fixed relative to the computer screen; the x axis lies horizon tally, the y axis lies vertically, and the z axis lies perpendicular to the computer screen.

y y z y x y z x x x

Object axes (in black) move with the object; global axes (in gray) are fixed.

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 (

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.

Bevel Extent Out

Bevel Extent In

Adds the bevel to the object’s original shape.

Carves the bevel out of the object’s original shape.

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Extruded object with cap (top left) compared to no cap (top right); object without a beveled edge (bottom left) compared to object with a beveled edge (bottom right)

See also

“To add a custom bevel path” on page 320

To add a custom bevel path

Open the Bevels.ai file located in the Adobe Illustrator Plug-ins folder.

Create a single open path in the Bevels.ai file.

Choose Window > Symbols, and do one of the following to make the path a symbol:

•

Drag the path to the Symbols palette.

•

With the path selected, click the New Symbol button in the Symbols palette or choose New Symbol from the palette menu.

To rename the symbol, double-click the symbol in the Symbols palette, enter a name in the Symbol Options dialog box, and click OK.

Choose File > Save.

Quit Illustrator and then relaunch Illustrator.

The Bevel menu in the 3D Extrude & Bevel Options dialog box lists the bevel.

To apply the custom bevel, do one of the following:

•

To apply the bevel to an extruded 3D object, select the 3D object, and then double-click the 3D Extrude & Bevel effect in the Appearance palette. In the 3D Extrude & Bevel Options dialog box, choose the bevel from the Bevel menu.

•

To apply the custom bevel to 2D artwork, select the 2D object, and then choose Effect > 3D > Extrude & Bevel. In the 3D Extrude & Bevel Options dialog box, choose the custom bevel from the Bevel menu.

Revolve options

Angle

Sets the number of degrees to revolve the path, between 0 and 360.

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Cap

Specifies whether the object appears solid (Revolve Cap On ) or hollow (Revolve Cap Off ).

Offset

Adds distance between the revolve axis and the path, to create a ring-shaped object, for instance. You can enter a value between 0 and 1000.

From

Sets the axis around which the object revolves, either the Left Edge or Right Edge.

Surface shading options

Surface

Lets you choose options for the shading surfaces:

•

Wireframe

Outlines the contours of the object’s geometry and make each surface transparent.

•

No Shading

object.

Adds no new surface properties to the object. The 3D object has the same color as the original 2D

•

Diffuse Shading

Makes the object reflect light in a soft, diffuse pattern.

•

Plastic Shading

Makes the object reflect light as if it were made of a shiny, high-gloss material.

Note:

Depending on what option you choose, different lighting options are available.If the object only uses the 3D Rotate effect, the only Surface choices available are Diffuse Shading or No Shading.

Light Intensity

Controls the light intensity between 0% and 100%.

Ambient Light

Controls the global lighting, which changes the brightness of all the object’s surfaces uniformly. 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.

Highlight Size

Controls the size of the highlight from large (100%) to small (0%).

Blend Steps

Controls how smoothly the shading appears across the object’s surfaces. Enter a value between 1 and

256. Higher numbers produce smoother shades and more paths than lower numbers.

Draw Hidden Faces

Displays the object’s hidden backfaces. The backfaces are visible if the object is transparent, or if the object is expanded and then pulled apart.

Note:

If your object has transparency and you want the hidden backfaces to display through the transparent front faces, apply the Object > Group command to the object before you apply the 3D effect.

Preserve Spot Color (Extrude & Bevel effect and Revolve effect)

Lets you preserve spot colors in the object. Spot colors can’t be preserved if you chose Custom for the Shading Color option.

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A B

C D

Examples of different surface shading choices

Wireframe

No shading

Diffuse shading

Plastic shading

Lighting options

Light

Defines where the light is. Drag the light to where you want it on the sphere.

Move Light Back button

Moves the selected light behind the object.

Move Light Front button

New button

Moves the selected light in front of the object.

Adds a light. By default, new lights appear in the front center of the sphere.

Delete Light button

Deletes the selected light.

Note:

By default, 3D Effects assigns one light to an object. You can add and delete lights, but the object must always have at least one light.

Light Intensity

Changes the selected light’s intensity between between 0% and 100%.

Shading Color

Controls the object’s shading color, depending on the command you choose:

•

None

Adds no color to the shading.

•

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.

•

Preserve Spot Color

Lets you preserve spot colors in the object. Spot colors can’t be preserved if you chose Custom for the Shading Color option.

B C D

Lighting Sphere

Selected light in front

Move selected light to back or front button

New light button

Delete light button

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Mapping artwork to a 3D object

Every 3D object is composed of multiple surfaces. For example, an extruded square becomes a cube that is made of six surfaces: the front and back faces, and the four side faces. You can map 2D artwork to each surface on a 3D object.

For example, you might want to map a label or text onto a bottle-shaped object or simply add different textures to each side of an object.

A B C

3D object with artwork mapped to each side

Symbol artwork

A and B mapped to 3D object

You can only map 2D artwork that’s stored in the Symbols palette to a 3D object. Symbols can be any Illustrator art object, including paths, compound paths, text, raster images, mesh objects, and groups of objects.

When mapping 3D objects, consider the following:

•

Because the Map Art feature uses symbols for mapping, you can edit a symbol instance and then automatically update all surfaces that are mapped with it.

•

You can interact with the symbol in the Map Art dialog box with normal bounding box controls to move, scale, or rotate the object.

•

The 3D effect remembers each mapped surface on an object as a number. If you edit the 3D object or apply the same effect to a new object, there may be fewer or more sides than the original. If there are fewer surfaces than the number of surfaces defined for the original mapping, the extra artwork will be ignored.

•

Because a symbol’s position is relative to the center of an object surface, if the geometry of the surface changes, then the symbol will be remapped relative to the new center of the object.

•

You can map artwork to objects that use the Extrude & Bevel or Revolve effect, but you can’t map artwork to objects that only use the Rotate effect.

To map artwork to a 3D object

Select the 3D object.

In the Appearance palette, double-click the Extrude & Bevel or Revolve effect.

Click Map Art.

Choose the artwork to map to the selected surface from the Symbol pop-up menu.

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.

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Do any of the following:

•

To move the symbol, position the pointer inside the bounding box and drag; to scale, drag a side or corner handle; to rotate, drag outside and near a bounding box handle.

•

To make the mapped artwork fit to the boundaries of the selected surface, click Scale To Fit.

•

To remove artwork from a single surface, select the surface using the Surface options, and then either choose None from the Symbol menu or click Clear.

•

To remove all maps from all of the 3D object’s surfaces, click Clear All.

•

To shade and apply the object’s lighting to the mapped artwork, select Shade Artwork.

•

To show only the artwork map, not the geometry of a 3D object, select Invisible Geometry. This is useful when you want to use the 3D mapping feature as a three-dimensional warping tool. For example, you could use this option to map text to the side of an extruded wavy line, so that the text appears warped as if on a flag.

•

To preview the effect, select Preview.

Click OK in the Map Artwork dialog box.

Chapter 13: Importing, exporting, and saving

Importing files

To place (import) files

The Place command is the primary method of importing, because it provides the highest level of support for file formats, placement options, and color. After you place a file, use the Links palette to identify, select, monitor, and update it.

Open the Illustrator document into which you want to place the artwork.

Choose File > Place, and select the file you want to place.

Note:

To display Version Cue options in the Place dialog box, click the Version Cue button. For more information on managing files with Version Cue, see “Getting the most out of Version Cue” on page 82.

Select Link to create a link to the file, or deselect Link to embed the artwork in the Illustrator document. For more information about when to link to or embed artwork, see “About linked and embedded artwork” on page 325.

Click Place.

In certain situations, another dialog box appears:

•

If you place a PDF file with multiple pages, you can choose which page you want to place and how to crop the artwork. (See “Adobe PDF placement options” on page 330.)

•

If you embed a 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. (See “Photoshop import options” on page 333.)

About linked and embedded artwork

When you place artwork, you can choose whether to link to the file or embed it in the Illustrator document.

•

Linked artwork remains independent of the Illustrator document, resulting in a smaller Illustrator file. You can modify linked artwork using transformation tools and effects; however, you cannot select and edit individual components in the artwork.

•

Embedded artwork is copied into the Illustrator document, resulting in a larger Illustrator file. If the artwork contains multiple components, you can edit them discretely. For example, if the artwork contains vector data,

Illustrator converts it to paths, which you can then modify using Illustrator tools and commands. Illustrator also preserves the object hierarchy (such as groups and layers) in artwork embedded from certain file formats.

To determine if artwork is linked or embedded, use the Links palette.

See also

“To convert linked artwork into embedded artwork” on page 328

325

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To use the Links palette

You use the Links palette to see and manage all linked or embedded artwork in an Illustrator document. The palette displays a small thumbnail of the artwork and uses icons to indicate artwork’s status.

Links palette

Transparency interaction

Linked artwork

Missing artwork

Embedded artwork

Modified artwork

•

To display the palette, choose Window > Links.

•

To hide or change the size of the thumbnails, select Palette Options from the Links palette menu, and select an option for displaying thumbnails.

•

To show or hide different types of links and sort items based on name, kind, or status, select commands in the palette menu.

Linked DCS files that overlap with transparent objects may fail to print correctly. To identify such files, choose Palette

Options from the Links palette menu, and select Show Transparency Interactions. When this option is selected, the

Links palette displays an icon next to DCS files that interact with transparent objects. Note that selecting the Show Trans parency Interactions option may slow performance.

See also

“About linked and embedded artwork” on page 325

“Using the Links palette with project files” on page 102

“To view alternates and versions in the Links palette” on page 103

“To work with palettes” on page 31

To view information about linked artwork

❖

Do any of the following:

•

Select the linked artwork in the illustration window. In the Control palette, click the file name and choose Link

Information.

•

Double-click the link in the Links palette. Alternatively, select the link and select Link Information from the palette menu.

To locate linked or embedded artwork in the illustration window, select a link and click the Go To Link button. Alter natively, select Go To Link from the palette menu.

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See also

“To use the Links palette” on page 326

“About linked and embedded artwork” on page 325

“About the Control palette” on page 33

To update linked artwork if the source file changes

❖

Do any of the following:

•

Select the linked artwork in the illustration window. In the Control palette, click the file name and choose Update

Link.

•

In the Links palette, select one or more links that display the exclamation point icon . Click the Update Link button , or select Update Link from the palette menu.

Note:

By default, Illustrator prompts you to update a link if the source file changes. To specify that you want to update links automatically or manually, choose Edit > Preferences > File Handling & Clipboard (Windows) or Illustrator >

Preferences > File Handling & Clipboard (Mac OS), and set the Update Links option.

See also

“To use the Links palette” on page 326

“About linked and embedded artwork” on page 325

“About the Control palette” on page 33

To relink to missing linked artwork

Do one of the following:

•

Select the linked artwork in the illustration window. In the Control palette, click the file name and choose Relink.

•

In the Links palette, select a link that displays the stop sign icon . Click the Relink button

Relink from the Links palette menu.

, or select

Select the file to replace the linked artwork in the Place dialog box, and click OK.

The new artwork retains the size, placement, and transformation characteristics of the artwork that it replaced.

See also

“To use the Links palette” on page 326

“About linked and embedded artwork” on page 325

“About the Control palette” on page 33

To set placement options for linked artwork

Do one of the following:

•

Select the linked artwork in the illustration window. In the Control palette, click the file name and choose

Placement Options.

•

In the Links palette, select the link and choose Placement Options from the palette menu.

Select an option for Preserve.

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If you select an option other than Transforms or Bounds, you can select a point on the Alignment icon from which you want to align the artwork, relative to the bounding box. If you want to keep the artwork from overlapping the bounding box, select Clip To Bounding Box.

See also

“To use the Links palette” on page 326

“About linked and embedded artwork” on page 325

“About the Control palette” on page 33

To convert linked artwork into embedded artwork

❖

Do one of the following:

•

Select the linked artwork in the illustration window. In the Control palette, click the Embed button.

•

In the Links palette, select the link and choose Embed Image from the palette menu.

See also

“To use the Links palette” on page 326

“About linked and embedded artwork” on page 325

“About the Control palette” on page 33

To edit linked artwork’s source file

❖

Do any of the following:

•

Select the linked artwork in the illustration window. In the Control palette, click the Edit Original button.

•

In the Links palette, select the link and click the Edit Original button from the palette menu.

. Alternatively, choose Edit Original

•

Select the linked artwork and choose Edit > Edit Original.

See also

“To use the Links palette” on page 326

“About linked and embedded artwork” on page 325

“About the Control palette” on page 33

Bitmap images

About bitmap images

Bitmap images—technically called

raster images—

use a grid of small squares known as pixels to represent images.

Each pixel is assigned a specific location and color value. For example, the boot laces in a bitmap image are made up of a mosaic of pixels that give the appearance of laces. When working with bitmap images, you edit pixels rather than objects or shapes.

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Bitmap images are the most common electronic medium for continuous-tone images, such as photographs or digital paintings, because they can represent subtle gradations of shades and color. Bitmap images are resolutiondependent—that is, they contain a fixed number of pixels. As a result, they can lose detail and appear jagged if they are scaled on-screen or if they are printed at a lower resolution than they were created for.

200%

800%

Bitmap image at different levels of magnification

You can import bitmap images into an Illustrator document using the Open, Place, and Paste commands. You can also create bitmap effects in your artwork using filters, effects, and graphic styles. When combining vector graphics and bitmap images, it’s important to remember that how your artwork looks in Illustrator isn’t always how it will look in its final medium (whether commercially printed, printed on a desktop printer, or viewed on the web). The following factors influence the quality of your final artwork:

Transparency

Many effects add partially transparent pixels to your artwork. When your artwork contains trans parency, Illustrator performs a process called

flattening

before printing or exporting. In most cases, the default flattening process produces excellent results. However, if your artwork contains complex, overlapping areas and you require high-resolution output, you will probably want to preview the effects of flattening. (See “Printing and exporting transparent artwork” on page 484.)

Image Resolution

The number of pixels per inch (ppi) in a bitmap image. Using too low a resolution for a printed image results in

pixelation

—output with large, coarse-looking pixels. Using too high a resolution (pixels smaller than what the output device can produce) increases the file size and slows the printing of the artwork.

Printer resolution and screen frequency

The number of ink dots produced per inch (dpi) and the number of lines per inch (lpi) in a halftone screen. The relationship between image resolution, printer resolution, and screen frequency determines the quality of detail in the printed image. (See “Printer resolution and screen frequency” on page 472.)

See also

“About vector graphics” on page 144

About image resolution

Bitmap images contain a fixed number of pixels, usually measured in pixels per inch (ppi). An image with a high resolution contains more, and therefore smaller, pixels than an image of the same printed dimensions with a low resolution. For example, a 1-inch-by-1-inch image with a resolution of 72 ppi contains a total of 5184 pixels (72 pixels wide x 72 pixels high = 5184). The same 1-inch-by-1-inch image with a resolution of 300 ppi would contain a total of 90,000 pixels.

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For imported bitmap images, image resolution is determined by the source file. For bitmap effects, you can specify a custom resolution. To determine the image resolution to use, consider the medium of final distribution for the image. If you’re producing an image for online display, the image resolution only needs to match the typical monitor resolution (72 or 96 ppi). However, using too low a resolution for a printed image results in

pixelation

—output with large, coarse-looking pixels. Using too high a resolution (pixels smaller than what the output device can produce) increases the file size and slows the printing of the artwork.

See also

“About bitmap images” on page 328

“Printer resolution and screen frequency” on page 472

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.

•

Use the Place command with the Link option selected to import a PDF file as a single image. You can modify the linked image using transformation tools; however, you cannot select and edit its individual components.

•

Use the Open command or the Place command with the Link option deselected to edit the contents of a PDF file.

Illustrator recognizes the individual components in the PDF artwork and lets you edit each component as a discrete object.

•

Use the Paste command or the drag-and-drop feature to import selected components from a PDF file, including vector objects, bitmap images, and text.

Note:

If you are color-managing artwork in a document, embedded PDF images are part of the document and therefore color-managed when sent to a printing device. In contrast, linked PDF images are not color-managed, even if color management is turned on for the rest of the document.

See also

“About linked and embedded artwork” on page 325

Adobe PDF placement options

When you place an Adobe PDF file, you can also specify how to crop the artwork by selecting a Crop To option:

Bounding Box

Places the PDF page’s bounding box, or the minimum area that encloses the objects on the page, including page marks.

Art

Places the PDF only in the area defined by a rectangle that the author created as placeable artwork (for example, clip art).

Crop

Places the PDF only in the area that is displayed or printed by Adobe Acrobat.

Trim

Identifies the place where the final produced page will be physically cut in the production process, if trim marks are present.

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Bleed

Places only the area that represents where all page content should be clipped, if a bleed area is present. This information is useful if the page is being output in a production environment. Note that the printed page may include page marks that fall outside the bleed area.

Media

Places the area that represents the physical paper size of the original PDF document (for example, the dimen sions of an A4 sheet of paper), including page marks.

See also

“To place (import) files” on page 325

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 attempting to preserve spot colors when applying the Flatten Transparency command.

Illustrator’s ability to preserve non-native art is useful in many situations. For example, Illustrator maintains the spot color information in linked PDF files when you output color separations.

By default, non-native art is labeled <Non-Native Art> in the Layers and Appearance palettes. You can select, move, save, and perform basic transformations (such as scaling, rotating, or skewing) on non-native art. However, you cannot select and edit its individual components. In addition, you must rasterize non-native art before editing it with the liquify tools. To convert non-native art to an Illustrator object, choose Object > Rasterize.

See also

“Importing Adobe PDF files” on page 330

“To rasterize a vector object” on page 437

EPS and DCS files

Importing EPS files

Encapsulated PostScript (EPS) is a popular file format for transferring vector artwork between applications. You can bring artwork from EPS files into Illustrator using the Open command, the Place command, the Paste command, and the drag-and-drop feature.

Keep the following in mind when working with EPS artwork:

•

When you open or embed an EPS file that was created in another application, Illustrator converts all objects to native Illustrator objects. However, if the file contains data that Illustrator doesn’t recognize, some loss of data may occur. As a result, unless you need to edit the individual objects in an EPS file, it’s best to link to the file rather than open or embed it.

•

EPS format does not support transparency; therefore, it is not a good choice for placing transparent artwork from other applications into Illustrator. Instead, use PDF 1.4 format for this purpose.

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•

You may receive an error message when printing or 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, print to a Binary print port instead of an ASCII print port, or save the artwork in AI or PDF format instead of EPS format.

•

If you are color-managing artwork in a document, embedded EPS images are part of the document and therefore color-managed when sent to a printing device. In contrast, linked EPS images are not color-managed, even if color management is turned on for the rest of the document.

•

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. The EPS preview cannot be changed, so the preview may be incorrect, but it will print to the correct plates. Selecting Apply to All will resolve all color conflicts, using the definition either of the document or the linked file, depending on which option you choose.

•

Occasionally you may encounter a warning when opening an Illustrator document containing embedded EPS images. If the application cannot find the original EPS image, you will be prompted to extract the EPS image.

Select the Extract option in the dialog box; the image will be extracted into the same directory as the current document. Although the embedded file does not preview in the document, the file will now print correctly.

•

By default, linked EPS files are displayed as a low resolution preview to increase performance. If a linked EPS file isn’t visible in the document window, it may be because the file’s preview is missing. (Previews are sometimes lost when transferring EPS files saved with PICT previews from Mac OS to Windows.) To view linked EPS files at full resolution, choose Edit > Preferences > File Handling & Clipboard (Windows) or Illustrator > Preferences > File

Handling & Clipboard (Mac OS), and deselect Use Low Resolution Proxy For Linked EPS. To restore the preview, resave the EPS file with a TIFF preview.

See also

“About linked and embedded artwork” on page 325

“To save in EPS format” on page 336

Importing DCS files

Desktop Color Separation (DCS) is a version of the standard EPS format. The DCS 1.0 format supports only CMYK images while the DCS 2.0 format supports multichannel CMYK files as well as multiple spot inks. (These spot inks appear as spot colors in Illustrator’s Swatches palette.) Illustrator recognizes clipping paths in Photoshop-created

DCS 1.0 and DCS 2.0 files.

Because DCS files are pre-separated, their use is limited to non-transparent, host-based workflows. The highresolution color separations associated with the image are replaced with a low-resolution composite image when printing to composite or exporting to EPS and PDF. DCS files are not supported in In-RIP workflows.

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Importing artwork from Photoshop

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. 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.

In cases where Illustrator must convert the Photoshop data, a warning message appears. For example, when importing a 16-bit Photoshop file, Illustrator warns you that the image will be imported as an 8-bit, flat composite.

Likewise, Illustrator warns you that images containing non-square pixels (such as those from video applications) will be scaled to a 1:1 ratio and imported as a flat composite.

Note:

Spot colors imported from Photoshop appear gray on-screen and in composite output. However, these colors will separate correctly. If Illustrator detects a swatch conflict when importing spot colors, a warning message appears.

See also

“Photoshop import options” on page 333

“About linked and embedded artwork” on page 325

Photoshop import options

When you open or place a Photoshop file that contains multiple layers, you can set the following options:

Layer Comp

If the Photoshop file contains layer comps, specifies which version of the image to import. Select Show

Preview to display a preview of the selected layer comp. The Comments text box displays comments from the

Photoshop file.

When Updating Link

Specifies how to handle layer visibility settings when updating a linked Photoshop file that includes layer comps.

•

Keep Layer Visibility Overrides

Updates the linked image based on the state of layer visibility in the layer comp when you originally placed the file.

•

Use Photoshop’s Layer Visibility

Updates the linked image based on the current state of layer visibility in the

Photoshop file.

Convert Photoshop Layers To Objects And Make Text Editable Where Possible

Preserves as much layer structure and text editability as possible without sacrificing appearance. However, if the file includes features that Illustrator doesn’t support, Illustrator preserves the appearance of the artwork by merging and rasterizing layers. For example:

•

Layer sets that use the Dissolve blending mode as well as all layers in clipping masks get merged into single layers.

•

Adjustment layers and layers that use a Knockout option are merged with the underlying layers, as are layers that contain transparent pixels and use the Color Dodge, Color Burn, Difference, Linear Burn, Linear Dodge, Vivid

Light, Linear Light, or Pin Light blending mode.

•

Layers that use layer effects may be merged; however, the specific merging behavior depends on the blending mode of the layer, the presence of transparent pixels, and the layer’s blending options.

•

Hidden layers that require merging are discarded.

Note:

The Convert Photoshop Layers To Objects And Make Text Editable Where Possible option is not available when you link to a Photoshop file.

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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.

Import Image Maps

Preserves any image maps that are included in the Photoshop file. This option is available only when opening or embedding a file that includes image maps.

Import Slices

Preserves any slices that are included in the Photoshop file. This option is available only when opening or embedding a file that includes slices.

To move part of an image from Photoshop to Illustrator

In Photoshop, select the pixels you want to move. For more information, see Photoshop Help.

Do one of the following:

•

Copy the selection in Photoshop and paste it in Illustrator. If a layer mask is active when you choose the Copy command, Photoshop copies the mask rather than the main layer.

•

Select the Move tool in Photoshop, and drag the selection to Illustrator. Illustrator fills transparent pixels with white.

See also

“Importing artwork from Photoshop” on page 333

To move paths from Photoshop to Illustrator

In Photoshop, use the Path Component Selection tool or the Direct Selection tool to select the paths you want to move.

You can select any path or path segment that appears in the Paths palette, including shape vector masks, work paths, and saved paths. For more information on selecting paths, see Photoshop Help.

Either copy and paste or drag the path to Illustrator.

In the Paste Options dialog box, choose whether to paste the path as a compound shape or a compound path.

Pasting as a compound path is faster, but may result in some loss of editability.

To import all paths (but no pixels) from a Photoshop document, choose File > Export > Paths to Illustrator (in

Photoshop). Then open the resulting file in Illustrator.

See also

“Importing artwork from Photoshop” on page 333

Saving artwork

Saving and exporting artwork

When you save or export artwork, Illustrator writes the artwork data to a file. The structure of the data depends on the file format that you select.

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There are four basic file formats—AI, PDF, EPS, and SVG—to which you can save artwork. These formats are called

native formats

because they can preserve all Illustrator data. (For PDF and SVG formats, you must select the Preserve

Illustrator Editing Capabilities options to preserve all Illustrator data.)

You can also export artwork in a variety of file formats for use outside of Illustrator. These formats are called

non native formats

because Illustrator will not be able to retrieve all of the data if you reopen the file in Illustrator. For this reason, it is recommended that you save artwork in AI format until you are finished creating it, and then export the artwork to the desired format.

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.

See also

“About Adobe PDF” on page 346

To save in Illustrator format

Choose File > Save As or File > Save A Copy.

Type a file name, and choose a location for the file.

Note:

To display Version Cue options in the Save As and Save A Copy dialog boxes, click the Version Cue button. For more information on managing files with Version Cue, see “Getting the most out of Version Cue” on page 82.

Choose Illustrator (*.AI) as the file format, and click Save.

In the Illustrator Options dialog box, set the desired options and click OK. (See “Illustrator format options” on page 335.)

To create a file that is compatible with a previous version of Illustrator, set the Version option at the top of the

Illustrator Options dialog box.

See also

“Saving and exporting artwork” on page 334

Illustrator format options

When you save artwork to Illustrator format, you can set the following options:

Version

Specifies the version of Illustrator with which you want your file to be compatible. Legacy formats don’t support all the features in the current version of Illustrator. Therefore, when you select a version other than the current version, some options for saving aren’t available, and certain kinds of data will be changed. Be sure to read the warnings at the bottom of the dialog box so that you are aware of how the data will be changed.

Subset Embedded Fonts When Percent Of Characters Used Is Less Than

Specifies when to embed the entire font (as opposed to just the characters used in the document) based on how many of the font’s characters are used in the document. For instance, if a font contains 1,000 characters but the document only uses 10 of those characters, you may decide that embedding the font is not worth the extra file size.

Create PDF Compatible File

Saves a PDF representation of the document in the Illustrator file. Select this option if you want the Illustrator file to be compatible with other Adobe applications.

Include Linked Files

Embeds files that are linked to the artwork.

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Use Compression

Compresses PDF data in the Illustrator file. Using compression increases the time required to save the document, so deselect this option if you’re experiencing very slow (8 to 15 minute) save times.

Embed ICC Profiles

Creates a color-managed document. (See “About color profiles” on page 211.)

Transparency options

Determines what happens to transparent objects when you choose a version of Illustrator format earlier than 9.0. Select Preserve Paths to discard transparency effects and reset transparent artwork to 100% opacity and Normal blending mode. Select Preserve Appearance And Overprints to preserve overprints that don’t interact with transparent objects. Overprints that interact with transparent objects are flattened.

Important:

If your artwork contains complex, overlapping areas and you require high-resolution output, click Cancel and specify rasterization settings before continuing. (See “Rasterization options” on page 424.)

To 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. Because EPS files are based on the

PostScript language, they can contain both vector and bitmap graphics.

If your artwork contains transparency (including overprints) and you require high-resolution output, choose

Window > Flattener Preview to preview the effects of flattening.

Choose File > Save As or File > Save A Copy.

Type a file name, and choose a location for the file.

Note:

Choose Illustrator EPS (*.EPS) as the file format, and click Save.

In the EPS Options dialog box, set the desired options and click OK. (See “EPS format options” on page 336.)

To create a file that is compatible with a previous version of Illustrator, set the Version option at the top of the EPS

Options dialog box.

See also

“Saving and exporting artwork” on page 334

“To preview which areas of artwork will be flattened” on page 487

EPS format options

When you save artwork to EPS format, you can set the following options:

Version

Format

Determine the characteristics of the preview image that is saved in the file. The preview image is displayed in applications that cannot display EPS artwork directly. If you don’t want to create a preview image, choose None from the Format menu. Otherwise, select a black-and-white or color format.

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If you select TIFF (8-bit Color) format, select a background option for the preview image:

•

Transparent

To produce a transparent background.

•

Opaque

To produce a solid background. (Select Opaque if the EPS document will be used in a Microsoft Office application.)

Transparency options

Determines what happens to transparent objects and overprints. The available options change depending on the format version you select at the top of the dialog box.

If you choose a CS format, specify how to save overlapping colors that are set to overprint, and select a preset (or set of options) for flattening transparency. Click Custom to customize the flattener settings. (See “Printing and exporting transparent artwork” on page 484.)

If you choose a Legacy format earlier than 8.0, select Preserve Paths to discard transparency effects and reset trans parent artwork to 100% opacity and Normal blending mode. Select Preserve Appearance and Overprints to preserve overprints that don’t interact with transparent objects. Overprints that interact with transparent objects are flattened.

Embed Fonts (For Other Applications)

Embeds all fonts that contain appropriate permissions from the font vendor.

Embedding fonts ensures that the original font is displayed and printed if the file is placed into another application, 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 fauxed 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. The thumbnail is displayed in the

Illustrator Open and Place dialog boxes.

Include CMYK PostScript In RGB Files

Allows RGB color documents to be printed from applications that do not support RGB output. When the EPS file is reopened in Illustrator, the RGB colors are preserved.

Compatible Gradient And Gradient Mesh Printing

Enables older printers and PostScript devices to print gradients and gradient meshes by converting gradient objects to JPEG format. Selecting this option can slow printing on printers that don’t have problems with gradients.

Adobe PostScript®

Determines what level of PostScript is used to save the artwork. PostScript Language Level 2 represents color as well as grayscale vector and bitmap images, and supports RGB, CMYK, and CIE-based color models for both vector and bitmap graphics. PostScript Language Level 3 provides additional functionality to

Language Level 2, including the ability to print mesh objects when printing to a PostScript® 3™ printer. Since printing to PostScript Language Level 2 devices converts gradient mesh objects to bitmap images, it is preferable to print artwork that contains gradient mesh objects to a PostScript 3 printer.

See also

“To save in EPS format” on page 336

“About overprinting” on page 490

To save in SVG format

SVG is a vector format that produces high-quality, interactive web graphics. There are two versions of the SVG formats: SVG and Compressed SVG (SVGZ). SVGZ can reduce file sizes by 50% to 80%; however, you cannot edit

SVGZ files using a text editor.

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Note:

The SVG plug-in for your web browser is normally installed with Illustrator. If you need to find the plug-in separately, go to www.adobe.com/svg to download it.

When you export 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 the artwork contains any SVG effects, select each item to which an SVG effect has been applied, and move the effect to the bottom of the Appearance palette (just above the Opacity entry). If other effects follow an SVG effect, the SVG output will consist of a raster object.

Choose File > Save As or File > Save A Copy.

Type a file name, and choose a location for the file.

Note:

Choose SVG (*.SVG) or SVG Compressed (*.SVGZ) as the file format, and click Save.

In the SVG Options dialog box, set the desired options and click OK. (See “SVG format options” on page 338.)

See also

“About SVG” on page 447

“To optimize and save web graphics” on page 452

SVG format options

When you save artwork to SVG format, you can set the following options. Click More Options to view all the options:

DTD

Specifies the DTD (Document Type Definition) for the exported file:

•

SVG 1.0 and SVG 1.1

Suitable for SVG files that will be viewed on a desktop computer. SVG 1.1 is the full version of the SVG specification, of which SVG Tiny 1.1, SVG Tiny 1.1 Plus, and SVG Basic 1.1 are a subset.

For additional information on SVG profiles, see the SVG specification on the World Wide Web Consortium (W3C) web site ( www.w3.org

•

SVG Tiny 1.1 and SVG Tiny 1.1 Plus

Suitable for SVG files that will be viewed on small devices, such as mobile phones. Keep in mind that not all mobile phones support the SVG Tiny and SVG Tiny Plus profiles. As a result, selecting either of these options does not guarantee that the SVG file will be viewable on all small devices.

SVG Tiny does not support gradients, transparency, clipping, masks, symbols, or SVG filter effects. SVG Tiny Plus includes the ability to display gradients and transparency, but does not support clipping, masks, symbols, or SVG filter effects.

•

SVG Basic 1.1

Suitable for SVG files that will be viewed on medium powered devices, such as handhelds. Keep in mind that not all handhelds support the SVG Basic profile. As a result, selecting this option does not guarantee that the SVG file will be viewable on all handhelds. SVG Basic does not support nonrectangular clipping and some SVG filter effects.

Font Type

Specifies how fonts are exported:

•

Adobe CEF

Uses font hinting for better rendering of small fonts. This font type is supported by the Adobe SVG

Viewer but may not be supported by other SVG viewers.

•

SVG

Does not use font hinting. This font type is supported by all SVG viewers.

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•

Convert To Outlines

SVG Viewers.

Converts type to vector paths. Use this option to preserve the visual appearance of type in all

Font Subsetting

Controls which

glyphs

(characters of a particular font) are embedded in the exported SVG file.

Choose None from the Subsetting menu if you can rely on the necessary fonts being installed on end-user systems.

Choose Only Glyphs Used to include only glyphs for text that exists in the current artwork. The other values

(Common English, Common English + Glyphs Used, Common Roman, Common Roman + Glyphs Used, All

Glyphs) are useful when the textual content of the SVG file is dynamic (such as server-generated text or user-inter active text).

Image Location

Determines whether raster images are embedded directly in the file or linked to the exported JPEG or PNG images from the original Illustrator file. Embedding images increases file size but ensures that rasterized images will always be available.

Preserve Illustrator Editing Capabilities

Preserves Illustrator-specific data by embedding an AI file in the SVG file

(resulting in a larger file size). Select this option if you plan to reopen and edit the SVG file in Illustrator. Note that if you make manual changes to the SVG data, the changes are not reflected when you reopen the file. This is because

Illustrator reads the AI portion of the file, not the SVG portion.

CSS Properties

Determines how style attributes are saved in the SVG code. The default method, Presentation

Attributes, applies properties at the highest point in the hierarchy, which allows the most flexibility for specific edits and transformations. The Style Attributes method creates the most readable files but may increase the file size.

Choose this method if the SVG code will be used in transformations—for example, transformations using Extensible

Stylesheet Language Transformation (XSLT). The Style Attributes <Entity References> method results in faster rendering times and reduced SVG file size. The Style Elements method is used when sharing files with HTML documents. By selecting Style Elements, you can then modify the SVG file to move a style element into an external stylesheet file that is also referenced by the HTML file; however, the Style Elements option also results in slower rendering speeds.

Decimal Places

Specifies the precision of vector data in the SVG file. You can set a value of 1–7 decimal places. A higher value results in a larger file size and increased image quality.

Encoding

Determines how characters are encoded in the SVG file. UTF (Unicode Transformation Format) encoding is supported by all XML processors. (UTF-8 is an 8-bit format; UTF-16 is a 16-bit format.) ISO 8859-1 and

UTF-16 encoding do not preserve file metadata.

Optimize For Adobe SVG Viewer

Maintains the highest level of Illustrator data while still allowing the SVG file to be manually edited. Select this option to take advantage of faster rendering for features such as SVG filter effects.

Include Adobe Graphics Server Data

Includes all information needed for variable substitution in the SVG file. (See

“About data-driven graphics” on page 505.)

Include Slicing Data

Includes slice locations and optimization settings.

Include XMP

Includes XMP metadata in the SVG file. Choose File > Info or use the Bridge Browser to enter metadata. (See “To add metadata to a file” on page 358 or “About metadata” on page 64.)

Output Fewer <tspan> Elements

Allows Illustrator to ignore auto-kerning settings during export, which results in a file with fewer <tspan> elements. Select this option to create an SVG file that is more editable and compact.

Deselect this option if maintaining the appearance of auto-kerned text is critical.

Use <textPath> Element For Text On Path

Exports text on a path as a <textPath> element. However, note that the text may appear differently in the SVG Viewer than it does in Illustrator since this export mode will not always be able to maintain visual parity. In particular, overflow text will be visible in the SVG Viewer.

Show SVG Code

Displays the code for the SVG file in a browser window.

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Preview

Displays the SVG file in a browser window.

See also

“To save in SVG format” on page 337

“About SVG” on page 447

To 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.

Choose File > Save For Microsoft Office.

In the Save For Office dialog box, select a location for the file, enter a file name, and click Save.

If you want to customize PNG settings, such as for resolution, transparency, and background color, use the Export command instead of the Save For Microsoft Office command. You can also save artwork in PNG format using the

Save For Web command.

See also

“To optimize and save web graphics” on page 452

Exporting artwork

To export artwork

Choose File > Export.

Select a location for the file, and enter a file name.

Note:

To display Version Cue options in the Export dialog box, click the Version Cue button. For more information on managing files with Version Cue, see “Getting the most out of Version Cue” on page 82.

Select a format from the Save As Type (Windows) or Format (Mac OS) pop-up menu. (See “File formats for exporting artwork” on page 340.)

Click Save.

See also

“Saving and exporting artwork” on page 334

“To optimize and save web graphics” on page 452

File formats for exporting artwork

AutoCAD Drawing and AutoCAD Interchange File

AutoCAD Drawing is the standard file format for saving vector graphics created in AutoCAD. AutoCAD Interchange File is a drawing interchange format for exporting AutoCAD drawings to or importing drawings from other applications.

Note:

By default, white strokes or fills in Illustrator artwork are exported to the AutoCAD formats as black strokes or fills.

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BMP

A standard Windows image format. You can specify a color model, resolution, and anti-alias setting for raster izing the artwork, as well as a format (Windows or OS/2) and a bit depth to determine the total number of colors (or shades of gray) that the image can contain. For 4-bit and 8-bit images using Windows format, you can also specify

RLE compression.

Enhanced Metafile

Widely used by Windows applications as an interchange format for exporting vector graphics data. Illustrator may rasterize some vector data when exporting artwork to EMF format.

GIF (Graphics Interchange Format)

Commonly used to display graphics and small animations in web pages. GIF is a compressed format designed to minimize file size and transfer time. You can also save an image as a GIF file using the Save For Web command.

JPEG (Joint Photographic Experts Group)

Commonly used to save photographs. JPEG format retains all color infor mation in an image but compresses file size by selectively discarding data. JPEG is a standard format for displaying images over the web. For more information, see “JPEG export options” on page 342. You can also save an image as a

JPEG file using the Save For Web command.

Note:

Artifacts, such as wave-like patterns or blocky areas of banding, are added to a file each time you save the file as a JPEG. Always save JPEG files from the original image, not from a previously saved JPEG.

Macintosh PICT

Used with Mac OS graphics and page-layout applications to transfer images between applications.

PICT is especially effective at compressing images with large areas of solid color.

Macromedia Flash

A vector-based graphics format for interactive, animated web graphics. You can export artwork to the Macromedia Flash (SWF) format for use in web design, and view the artwork in any browser equipped with the Macromedia Flash Player plug-in. For more information, see “Macromedia Flash export options” on page 342.

You can also save an image as an SWF file using the Save For Web command.

Photoshop

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. For more information, see

“Photoshop export options” on page 344.

PNG (Portable Network Graphics)

Used for lossless compression and for display of images on the web. Unlike GIF,

PNG supports 24-bit images and produces background transparency without jagged edges; however, some web browsers do not support PNG images. PNG preserves transparency in grayscale and RGB images. For more infor mation, see “PNG export options” on page 345. You can also save an image as a PNG file using the Save For Web command.

Targa

Designed for use on systems that use the Truevision® video board. You can specify a color model, resolution, and anti-alias setting for rasterizing the artwork, as well as a bit depth to determine the total number of colors (or shades of gray) that the image can contain.

Text Format

Used to export text in an illustration to a text file. (See “To export text to a text file” on page 365.)

TIFF (Tagged-Image File Format)

Used to exchange files between applications and computer platforms. TIFF is a flexible bitmap image format supported by most paint, image-editing, and page-layout applications. Most desktop scanners can produce TIFF files. For more information, see “TIFF export options” on page 345.

Windows Metafile

An intermediate exchange format for 16-bit Windows applications. WMF format is supported by almost all Windows drawing and layout programs. However, it has limited vector graphics support, and wherever possible, EMF format should be used in place of WMF format.

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See also

“Saving and exporting artwork” on page 334

“To export artwork” on page 340

JPEG export options

When you export artwork to JPEG format, you can set the following options:

Quality

Determines the quality and size of the JPEG file. Choose an option from the Quality menu or enter a value between 0 and 10 in the Quality text box.

Color Model

Determines the color model of the JPEG file.

Method and Scans

Select Baseline (“Standard”) to use a format recognized by most web browsers, Baseline

Optimized for optimized color and a slightly smaller file size, Progressive to display a series of increasingly detailed scans (you specify how many) as the image downloads. Baseline Optimized and Progressive JPEG images are not supported by all web browsers.

Depth

Determines the resolution of the JPEG file. Choose Custom to specify a resolution.

Anti-Alias

Removes jagged edges in the artwork by supersampling it. Deselecting this option helps maintain the hard edges of line art when it is rasterized.

Imagemap

Generates code for image maps. If you select this option, select Client-side (.html) or Server-side (.map) to determine the type of file that is generated.

Embed ICC Profiles

Saves ICC profiles in the JPEG file. (See “About color profiles” on page 211.)

See also

“To export artwork” on page 340

“About colors in digital graphics” on page 181

“To optimize and save web graphics” on page 452

Macromedia Flash export options

When you export artwork to SWF format, you can set the following options:

Export As

Specifies how to convert Illustrator layers to SWF frames:

•

AI File To SWF File

Exports the artwork to a single frame. Select this option to preserve layer clipping masks.

•

AI Layers To SWF Frames

Exports the artwork on each layer to a separate SWF frame, creating an animated SWF.

•

AI Layers To SWF Files

Exports the artwork on each layer to a separate SWF file. The result is multiple SWF files, each containing a single frame with the artwork from a single Illustrator layer.

Generate HTML

Writes HTML code for the SWF file, including its width and height. You can use this code to include the SWF file in a web page. The HTML file is saved to the same location as the SWF file.

Protect From Import

Prohibits users from modifying the exported SWF file.

Clip To Artboard Size

Exports the entire Illustrator document page (and any artwork within its borders) to the SWF file. Any artwork outside the page’s borders will be clipped off.

Export Text As Outlines

Converts type to vector paths. Use this option to preserve the visual appearance of type in all Flash players.

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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. Do not use this option if you’re not sure what version of the Flash player the file will be viewed on.

Preserve Appearance or Preserve Editability Where Possible

Select Preserve Appearance to flatten artwork to a single layer before exporting or Preserve Editability Where Possible to preserve as much layer editability as possible in the SWF file. (These options are only available for AI File To SWF File).

Choose Background Color

Specifies a background color for the exported SWF file.

Curve Quality

Determines the accuracy of the bezier curves. A low number decreases the exported file size with a slight loss of curve quality. A higher number increases the accuracy of the bezier curve reproduction, but results in a larger file size.

Frame Rate

Specifies the rate at which the animation will be played in a Macromedia Flash viewer. (This option is only available for AI Layers To SWF Frames.)

Looping

Causes the animation to loop continuously, rather than play once and then stop, when played in a

Macromedia Flash viewer. (This option is only available for AI Layers To SWF Frames.)

Use As Background

Specifies one or more layers or sublayers to be used as static content in all the exported SWF

Frames. Content from the selected layers or sublayers will be present as background art in every exported SWF frame. (This option is only available for AI Layers To SWF Frames.)

Layer Order

Determines the timeline of the animation. Select Bottom Up to export layers starting with the bottommost layer in the Layers palette. Select Top Down to export layers starting with the topmost layer in the Layers palette. (This option is only available for AI Layers To SWF Frames.)

Animate Blends

Specifies whether or not to animate blended objects. Selecting this option produces the same results as manually releasing blended objects to layers before you export. Blends are always animated from start to end irrespective of the layer order.

If you select Animate Blends, select a method for exporting the blend:

•

In Sequence

Exports each object in the blend to a separate frame in the animation.

•

In Build

Builds up a cumulative sequence of objects in the animation frames. For example, the bottommost object in the blend appears in each of the frames, and the topmost object in the blend appears only in the last frame.

Image Format

Determines how the artwork is compressed. Lossless compression maintains the highest image quality but creates a large SWF file. Lossy (JPEG) compression creates a smaller SWF file but adds artifacts to the image. Select Lossless if you intend to continue to work on the file (or files) in Macromedia Flash; select Lossy if you’re exporting the final SWF file.

JPEG Quality

Specifies the amount of detail in the exported image. The higher the quality, the larger the file size.

(This option is only available if you choose Lossy compression.)

Method

Specifies the type of JPEG compression that is used. Baseline (Standard) applies the standard type of compression, while Baseline Optimized applies additional optimization. (These options are only available if you choose Lossy compression.)

Resolution

Adjusts the screen resolution for bitmap images. Resolution for exported SWF files can be 72 to 2400 pixels per inch (ppi). Higher resolution values result in better image quality but larger file sizes.

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See also

“To export artwork” on page 340

“About Flash graphics” on page 450

“To create Flash animations” on page 451

Photoshop export options

When you export artwork to Photoshop format, you can set the following options:

Color Model

Determines the color model of the exported file. Exporting a CMYK document as RGB, or vice versa, may cause unexpected changes in the appearance of transparent areas, especially those that include blending modes.

If you change the color model, you must export the artwork as a flat image (the Write Layers option is not available).

Note:

If you want to export image maps, set Color Model to RGB. This is because Adobe ImageReady® only supports

RGB documents. (Photoshop does not support image maps.)

Resolution

Determines the resolution of the exported file.

Export As

Determines the version of the Photoshop file. Note that Photoshop CS format preserves the editability of all kinds of text objects (point text, area text, and path text), while Photoshop 5.5 format preserves the editability of only point text objects.

Flat Image

Merges all layers and exports the Illustrator artwork as a rasterized image. Choosing this option guarantees that the visual appearance of the artwork is preserved.

Write Layers

Exports each top-level Illustrator layer as a separate Photoshop layer if doing so does not compromise the appearance of the artwork. Nested layers are flattened into the top-level layer during export, unless the Maximum

Editability option is also selected.

Preserve Text Editability

Exports horizontal and vertical point type in a top-level layer to editable Photoshop type if doing so does not compromise the appearance of the artwork.

Note:

Text in nested layers is always rasterized.

Maximum Editability

Writes each top-level sublayer to a separate Photoshop layer if doing so does not compromise the appearance of the artwork. Top-level layers become Photoshop layer sets. Also exports hidden layers in the artwork to hidden Photoshop layers. If more than 100 Photoshop layers result, an alert reminds you that Photoshop

5.5 and earlier will not be able to open the document. Also creates a Photoshop shape layer for each compound shape in a top-level layer if doing so does not compromise the appearance of the artwork. To write compound shapes with solid strokes, change the Join type to Round. (See “To change the caps or joins of a line” on page 225.)

Note:

Illustrator cannot export compound shapes that have graphic styles, dashed strokes, or brushes applied to them.

Such compound shapes will be rasterized.

Anti-Alias

Removes jagged edges in the artwork by supersampling it. Deselecting this option helps maintain the hard edges of line art when it is rasterized.

Embed ICC Profiles

Creates a color-managed document.

See also

“To export artwork” on page 340

“About image resolution” on page 329

“About colors in digital graphics” on page 181

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PNG export options

When you export artwork to PNG format, you can set the following options:

Resolution

Determines the resolution of the rasterized image. Higher resolution values result in better image quality but larger file sizes.

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 resolu tions.

Color

Specifies a color for filling transparency. Choose Transparent to preserve transparency, White to fill trans parency with white, Black to fill transparency with black, or Other to select another color for filling transparency.

Anti-Alias

Removes jagged edges in the artwork by supersampling it. Deselecting this option helps maintain the hard edges of line art when it is rasterized.

Interlaced

Displays low-resolution versions of the image as the file downloads in a browser. Interlacing makes download time seem shorter, but also increases file size.

See also

“About image resolution” on page 329

“To export artwork” on page 340

“To optimize and save web graphics” on page 452

TIFF export options

When you export artwork to TIFF format, you can set the following options:

Color Model

Determines the color model of the exported file.

Resolution

Determines the resolution of the rasterized image. Higher resolution values result in better image quality but larger file sizes.

Anti-Alias

Removes jagged edges in the artwork by supersampling it. Deselecting this option helps maintain the hard edges of line art when it is rasterized.

LZW Compression

Applies LZW compression, a lossless compression method that does not discard detail from the image. Select this option to produce a smaller file.

Byte Order

Determines the appropriate sequence of bytes for writing the image file, based on the platform you choose. Illustrator and most recent applications can read files using the byte order for either platform. However, if you don’t know what kind of program the file may be opened in, select the platform on which the file will be read.

Embed ICC Profiles

Creates a color-managed document.

See also

“About image resolution” on page 329

“To export artwork” on page 340

“About colors in digital graphics” on page 181

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Creating Adobe PDF files

About Adobe PDF

Adobe 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. PDF is the standard for the secure, reliable distribution and exchange of electronic documents and forms around the world. Adobe PDF files are compact and complete, and can be shared, viewed, and printed by anyone with free Adobe Reader® software. In addition, Adobe

PDF can preserve all Illustrator data, which means that you can reopen the file in Illustrator without any loss of data.

Adobe PDF is highly effective in print publishing workflows. By saving a composite of your artwork in Adobe PDF, you create a compact, reliable file that you or your service provider can view, edit, organize, and proof. Then, at the appropriate time in the workflow, your service provider can either output the Adobe PDF file directly, or process it using tools from various sources for such post-processing tasks as preflight checks, trapping, imposition, and color separation.

When you save in Adobe PDF format, you can choose to create a PDF/X-compliant file. PDF/X (Portable Document

Format Exchange) is a subset of Adobe PDF that eliminates many of the color, font, and trapping variables that lead to printing problems. PDF/X may be used wherever PDF files are exchanged as digital masters for print production—whether at the creation or output stage of the workflow, as long as the applications and output devices support PDF/X.

For more information about shared PDF settings for Adobe Creative Suite applications, see the PDF Integration

Guide on the Creative Suite CD.

To create an Adobe PDF file

Choose File > Save As or File > Save A Copy.

Type a file name, and choose a location for the file.

Note:

Choose Adobe PDF (*.PDF) as the file format, and click Save.

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.

Click Save PDF.

To reset options to the default, hold down Alt (Windows) or Option (Mac OS) and click Reset.

See also

“To create an Adobe PDF/X-compliant file” on page 347

“Adobe PDF presets” on page 348

“Setting Adobe PDF options” on page 350

To create a multiple-page Adobe PDF file

Choose File > Print, and set the media size to the size you want the PDF pages to be.

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Select Setup on the left side of the Print dialog box. Set the following options, and click Done:

•

For Crop Artwork To, select Artboard.

•

For Tiling, select Tile Full Pages or Tile Imageable Areas.

Set up the artboard so that it is big enough to display all pages, and choose View > Show Page Tiling. (See “About page tiling” on page 37.)

Lay out the artwork for each page within the page tiling boundaries on the artboard.

Save the file in Adobe PDF format. (See “To create an Adobe PDF file” on page 346.)

In the Save Adobe PDF dialog box, select Save Multi-Page PDF From Page Tiles.

Set additional PDF options, and click Save PDF.

To create a layered Adobe PDF file

Adobe InDesign and Adobe Acrobat both provide features for changing the visibility of layers in an Adobe PDF file.

By saving a layered PDF file in Illustrator, you allow your illustration to be used in different contexts. For example, rather than create multiple versions of the same illustration for a multilanguage publication, you can create one PDF file that contains text for all languages.

Set up your illustration so that the adjustable elements (those you want to show and hide) are in separate top-level layers, not nested within sublayers.

For example, if you’re creating an illustration to be repurposed for multiple languages, put the text for each language in a different top-level layer.

Save the file in Adobe PDF format. (See “To create an Adobe PDF file” on page 346.)

In the Save Adobe PDF dialog box, choose Acrobat 7 (1.6) or Acrobat 6 (1.5) for Compatibility.

Select Create Acrobat Layers from Top-Level Layers, set additional PDF options, and click Save PDF.

To create an Adobe PDF/X-compliant file

PDF/X (Portable Document Format Exchange) is an ISO standard for graphic content exchange that eliminates many of the color, font, and trapping variables that lead to printing problems. Illustrator supports PDF/X-1a (for a

CMYK workflow) and PDF/X-3 (for a color-managed workflow).

You can create a PDF/X-compliant file during the process of saving a PDF file.

In the Save Adobe PDF dialog box, choose a PDF/X preset, or choose a PDF/X format from the Standard menu.

Click Output on the left side of the Save Adobe PDF dialog box, and set PDF/X options.

See also

“Adobe PDF standards” on page 351

“Color management and PDF/X options for Adobe PDF” on page 355

“Color-managing PDF files for printing” on page 210

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Adobe PDF presets

A PDF preset is a predefined collection of settings that you can use for creating consistent Adobe PDF files. These settings are designed to balance file size with quality, depending on how the PDF file will be used. You can also create custom presets. Adobe PDF presets are shared across Adobe Creative Suite applications, including InDesign,

Illustrator, Photoshop, GoLive, and Acrobat.

Note:

Additional presets are installed in the Extras folder. For more information, see “To load PDF presets” on page 349.

High Quality Print

Creates a PDF file for quality printing on desktop printers and proofers. It downsamples color and grayscale images with resolutions above 450 ppi to 300 ppi and monochrome images with resolutions above 1800 ppi to 1200 ppi, prints to a higher image resolution, and preserves the maximum amount of information about the original document. PDF files created with this settings file can be opened in Acrobat 5.0 and Acrobat Reader 5.0 and later.

Illustrator Default

Creates a PDF file in which all Illustrator data is preserved. PDF files created with this preset can be reopened in Illustrator without any loss of data.

PDF/X-1a:2001

Checks incoming PostScript files for PDF/X-1a:2001 compliance and only creates a file that is

PDF/X-1a compliant. If the file fails compliance checks, a warning message appears that lets you cancel saving the file or continue by saving a file that is not marked as PDF/X-compliant. PDF/X-1a is an ISO standard for graphic content exchange. PDF/X-1a:2001 requires all fonts to be embedded, the appropriate PDF bounding boxes to be specified, and color to appear as CMYK, spot colors, or both. PDF/X-compliant files must contain information describing the printing condition for which they are prepared. For the PDF/X-1a:2001 settings file, the default output intent profile name is U.S. Web Coated (SWOP). PDF files created with this settings file can be opened in Acrobat

4.0 and Acrobat Reader 4.0 and later.

PDF/X-3:2002

Checks incoming PostScript files for PDF/X-3:2002 compliance and only creates a file that is PDF/X

3:2002 compliant. If the file fails compliance checks, a warning message appears that lets you cancel saving the file or continue by saving a file that is not marked as PDF/X-compliant. Like PDF/X-1a, PDF/X-3 is an ISO standard for graphic content exchange. The main difference is that PDF/X-3 allows the use of color management and deviceindependent color in addition to CMYK and spot colors. PDF files created with this settings file can be opened in

Acrobat 4.0 and Acrobat Reader 4.0 and later.

Press Quality

Creates PDF files for high-quality print production (for example, for digital printing or for separations to an imagesetter or platesetter), but does not create files that are PDF/X-compliant. In this case, the quality of the content is the highest consideration. The objective is to maintain all the information in a PDF file that a commercial printer or prepress service provider needs in order to print the document correctly. This set of options downsamples color and grayscale images with resolutions above 450 ppi to 300 ppi and monochrome images with resolutions above 1800 ppi to 1200 ppi, embeds subsets of fonts used in the document (if allowed), and creates a higher image resolution than the Standard settings. When exporting a document that uses fonts with permission bits that do not allow embedding, a warning message appears and the fonts are substituted. These PDF files can be opened in Acrobat

5.0 and Acrobat Reader 5.0 and later.

Note:

Before creating an Adobe PDF file to send to a commercial printer or prepress service provider, find out what the output resolution and other settings should be, or ask for a .joboptions file with the recommended settings. You may need to customize the Adobe PDF settings for a particular provider and then provide a .joboptions file of your own.

Smallest File Size

Creates PDF files for displaying on the web, on an intranet, for distribution through an email system for on-screen viewing, or for display on smaller more portable devices (such as handhelds). This set of options uses compression, downsampling, and a relatively low image resolution. It converts all colors to sRGB, and does not embed fonts unless absolutely necessary. It also optimizes files for byte serving. These PDF files can be opened in Acrobat 5.0 and Acrobat Reader 5.0 and later.

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See also

“Adobe PDF standards” on page 351

To customize PDF presets

Although the default PDF presets are based on best practices, you may discover that your workflow, or perhaps your printer’s workflow, requires specialized PDF settings that aren’t available via any of the built-in presets. If this is the case, you or your service provider can create custom presets.

Choose Edit > Adobe PDF Presets.

Do one of the following:

•

To create a new preset, click New. If you want to base the new preset on an existing preset, select the preset first.

•

To edit an existing custom preset, select the preset and click Edit. (You cannot edit the default presets.)

Set the PDF options, and click OK. (See “Setting Adobe PDF options” on page 350.)

Alternatively, you can create a custom preset when you save a PDF file by clicking Save Preset at the bottom of the

Save Adobe PDF dialog box. (See “To create an Adobe PDF file” on page 346.)

PDF presets are stored in .joboptions files located in

/Documents and Settings/All Users/Documents/Adobe

PDF/Settings

(Windows) or

/Library/Application Support/Adobe PDF/Settings

(Mac OS). All custom presets you save in these locations are available in your other Creative Suite applications.

If you want to share your presets with a colleague, select one or more presets and click Export. The presets are saved to a separate .joboptions file, which you can then transfer to your colleague via email or over your computer network.

See also

“About Adobe PDF” on page 346

To load PDF presets

Illustrator comes with supplementary PDF presets (.joboptions) files, which are installed in the Extras folder in

/Documents and Settings/All Users/Documents/Adobe PDF

(Windows) or

/Library/Application Support/Adobe PDF

(Mac OS). You may also receive custom PDF presets files from service providers and colleagues.

❖

To load PDF presets into all of your Creative Suite 2 applications, do one of the following:

•

Double-click the .joboptions file.

•

Choose Edit > Adobe PDF Presets. Click Import, and select the .joboptions file you want to load.

See also

“About Adobe PDF” on page 346

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Adobe PDF options

Setting Adobe PDF options

Adobe PDF options are divided into categories. Changing any option causes the name of the preset to change to

Custom. The categories are listed on the left side of the Save Adobe PDF dialog box, with the exception of the

Standard and Compatibility options, which are at the top of the dialog box.

Category

Standard

Compatibility

General

Compression

Marks and Bleeds

Output

Advanced

Security

Summary

Description

Specifies a PDF standard for the file.

(See “Adobe PDF standards” on page 351.)

Specifies a PDF version for the file.

(See “Adobe PDF compatibility levels” on page 351.)

Specifies basic file options. (See

“General options for Adobe PDF” on page 352.)

Specifies if artwork should be compressed and downsampled, and if so, which method and settings to use. (See “Compression and downsampling options for Adobe PDF” on page 352.)

Specifies printer’s marks and the bleed and slug areas. Although the options are the same as in the Print dialog box, the calculations are subtly different because PDF is not output to a known page size. (See “Mark and bleed options for Adobe PDF” on page 354.)

Controls how colors and PDF/X output intent profiles are saved in the

PDF file. (See “Color management and PDF/X options for Adobe PDF” on page 355

Controls how fonts, overprinting, and transparency are saved in the PDF file.

(See “Font and flattening options for

PDF” on page 356.)

Adds security to the PDF file. (See

“Security options for PDF” on page 356.)

Displays a summary of the current

PDF settings. To save the summary as an ASCII text file, click Save Summary.

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Adobe PDF standards

Choose an Adobe PDF standard from the Standards menu at the top of the Save Adobe PDF dialog box. Currently, the most widely used standards for a print publishing workflow are available in two different types of PDF/X formats,

PDF/X-1a and PDF/X-3. For more information on PDF/X, see the ISO website and the Adobe website.

None

Does not use the PDF/X standard.

PDF/X-1a (2001 and 2003)

PDF/X-1a is an ISO standard for graphic content exchange. PDF/X-1a requires all fonts to be embedded, the appropriate PDF bounding boxes to be specified, and color to appear as CMYK, spot colors, or both. PDF/X-compliant files must contain information describing the printing condition for which they are prepared. PDF files created with PDF/X-1a compliance can be opened in Acrobat 4.0 and Acrobat Reader 4.0 and later.

PDF/X-3 (2002 and 2003)

Like PDF/X-1a, PDF/X-3 is an ISO standard for graphic content exchange. The main difference is that PDF/X-3 allows the use of color management and device-independent color (CIE L*a*b, ICC-based color spaces, CalRGB, and CalGray) in addition to CMYK and spot colors. This allows you to use ICC color profiles to specify color data later in the workflow at the output device. PDF files created with PDF/X-3 compliance can be opened in Acrobat 4.0 and Acrobat Reader 4.0 and later.

Adobe PDF compatibility levels

When you create Adobe PDF files, you need to decide which PDF version to use. You can change the PDF version by switching to a different preset or choosing a Compatibility option in the Save Adobe PDF dialog box.

Generally speaking, you should use the most recent version (in this case version 1.6) unless there’s a specific need for backward compatibility, because the latest version will include all the latest features and functionality. However, if you’re creating documents that will be distributed widely, consider choosing Acrobat 4.0 (PDF 1.3) or Acrobat 5.0

(PDF 1.4) to ensure that all users can view and print the document. The following table compares some of the functionality in Adobe PDF files created using the different compatibility settings.

Acrobat 4.0 (PDF 1.3) Acrobat 5.0 (PDF 1.4) Acrobat 6.0 (PDF 1.5) Acrobat 7.0 (PDF 1.6)

PDF files can be opened with

Acrobat 3.0 and Acrobat

Reader 3.0 and later.

PDF files can be opened with

Acrobat 3.0 and Acrobat

Most PDF files can be opened with Acrobat 4.0 and Acrobat

Reader 3.0 and later. However, Reader 4.0 and later. However, Reader 4.0 and later. However, features specific to later features specific to later features specific to later versions may be lost or not viewable. A warning message appears if the PDF file version exceeds the PDF version versions may be lost or not viewable. A warning message appears if the PDF file version exceeds the PDF version versions may be lost or not viewable. A warning message appears if the PDF file version exceeds the PDF version supported by the application. supported by the application. supported by the application.

ICC color management is supported.

Cannot contain artwork that Supports the use of live transSupports the use of live transSupports the use of live transuses live transparency effects. parency in artwork.

Any transparency must be flat tened prior to converting to

PDF 1.3. parency in artwork. parency in artwork.

Layers are not supported. Layers are not supported. Preserves layers when creating PDF files from appli cations that support the generation of layered PDF documents, such as Illustrator

CS or InDesign CS.

Preserves layers when creating PDF files from appli cations that support the generation of layered PDF documents, such as Illustrator

CS or InDesign CS.

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Acrobat 4.0 (PDF 1.3)

DeviceN color space with 8 colorants is supported.

Acrobat 5.0 (PDF 1.4)

DeviceN color space with 8 colorants is supported.

Acrobat 6.0 (PDF 1.5)

DeviceN color space with up to 31 colorants is supported.

Acrobat 7.0 (PDF 1.6)

DeviceN color space with up to 31 colorants is supported.

Pages can be up to 45 inches Pages can be up to 200 inches Pages can be up to 200 inches Pages can be up to 200 inches

(114.3cm) in either dimension. (508cm) in either dimension. (508cm) in either dimension. (508cm) in either dimension.

Double-byte fonts can be embedded.

40-bit RC4 security supported. 128-bit RC4 security supported.

Double-byte fonts can be embedded.

128-bit RC4 security supported.

Double-byte fonts can be embedded.

128-bit RC4 and 128-bit AES

(Advanced Encryption Stan dard) security supported.

General options for Adobe 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. Conversely, changing the settings in a preset prepends the description with “[Based on <Current

Preset Name>].”

Preserve Illustrator Editing Capabilities

Saves all Illustrator data in the PDF file. Select this option if you want to be able to reopen and edit the PDF file in Adobe Illustrator.

Important:

The Preserve Illustrator Editing Capabilities option counteracts aggressive compression and downsampling.

If file size is a concern, deselect this option.

Embed Page Thumbnails

Creates a thumbnail image of artwork. The thumbnail is displayed in the Illustrator Open or Place dialog boxes.

Optimize For Fast Web View

Optimizes the PDF file for faster viewing in a web browser.

View PDF After Saving

Opens the newly-created PDF file in the default PDF viewing application.

Create Acrobat Layers From Top-level Layers

Saves Illustrator’s top-level layers as Acrobat layers within the PDF file.

This allows Adobe Acrobat 6 and 7 users to generate multiple versions of the document from a single file. (See “To create a layered Adobe PDF file” on page 347.)

Note:

This option is only available when Compatibility is set to Acrobat 6 (1.5) or Acrobat 7 (1.6).

Save Tiled Artboard To Multiple Page PDF Document

Saves each tile in the Illustrator document as a separate page in the PDF file. (See “To create a multiple-page Adobe PDF file” on page 346.)

See also

“About Adobe PDF” on page 346

“Printing and exporting transparent artwork” on page 484

Compression and downsampling options for Adobe PDF

When saving artwork in Adobe PDF, you can compress text and line art, and compress and downsample bitmap images. Depending on the settings you choose, compression and downsampling can significantly reduce the size of a PDF file with little or no loss of detail and precision.

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The Compression area of the Save Adobe PDF dialog box is divided into three sections. Each section provides the following options for compressing and resampling color, grayscale, or monochrome images in your artwork.

Important:

The Preserve Illustrator Editing Capabilities option (in the General preferences area) counteracts aggressive compression and downsampling. If file size is a concern, deselect this option.

Downsampling

If you plan to use the PDF file on the web, use downsampling to allow for higher compression. If you plan to print the PDF file at high resolution, do not use downsampling. Deselect the option to disable all downsam pling options.

Downsampling

refers to decreasing the number of pixels in an image. To downsample color, grayscale, or monochrome images, choose an

interpolation method

—average downsampling, bicubic downsampling, or subsam pling—and enter the desired resolution (in pixels per inch). Then enter a resolution in the For Images Above text box. All images with resolution above this threshold will be downsampled.

The interpolation method you choose determines how pixels are deleted:

•

Average Downsampling

Averages the pixels in a sample area and replaces the entire area with the average pixel color at the specified resolution.

•

Bicubic Downsampling

Uses a weighted average to determine pixel color, which usually yields better results than the simple averaging method of downsampling. Bicubic is the slowest but most precise method, resulting in the smoothest gradations.

•

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.

Compression

Determines the type of compression that is used. The Automatic option automatically sets the best possible compression and quality for the artwork contained in the file. For most files, this option produces satis factory results. Use Automatic (JPEG) if you need the greatest compatibility. Use Automatic (JPEG2000) for superior compression.

•

ZIP compression

Works well on images with large areas of single colors or repeating patterns, and for black-and white images that contain repeating patterns. ZIP compression can be lossless or lossy, depending on the Quality setting.

•

JPEG compression

Is suitable for grayscale or color images. JPEG compression is

lossy

, which means that it removes image data and may reduce image quality; however, it attempts to reduce file size with a minimal loss of information. Because JPEG compression eliminates data, it can achieve much smaller file sizes than ZIP compression.

•

JPEG2000

Is the new international standard for the compression and packaging of image data. Like JPEG compression, JPEG2000 compression is suitable for grayscale or color images. It also provides additional advantages, such as progressive display.

•

CCITT and Run Length compression

Are only available for monochrome bitmap images. CCITT (Consultative

Committee on International Telegraphy and Telephony) compression is appropriate for black-and-white images and any images scanned with an image depth of 1 bit. Group 4 is a general-purpose method that produces good compression for most monochrome images. Group 3, used by most fax machines, compresses monochrome bitmaps one row at a time. Run Length compression produces the best results for images that contain large areas of solid black or white.

Image Quality

Determines the amount of compression that is applied. The available options depend on the compression method. For JPEG Compression, Illustrator provides Minimum, Low, Medium, High, and Maximum

Quality options. For ZIP compression, Illustrator provides 4-bit and 8-bit Quality options. If you use 4-bit ZIP

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compression with 4-bit images, or 8-bit ZIP compression with 4-bit or 8-bit images, the ZIP method is

lossless

; that is, data is not removed to reduce file size, so image quality is not affected. Using 4-bit ZIP compression with 8-bit data can affect the quality, however, because data is lost.

Tile Size

This option is only enabled when its corresponding Compression setting is JPEG2000. It determines the size of the tiles for progressive display.

Compress Text And Line Art

Applies compression to all text and line art in the file. This method results in no loss of detail or quality.

See also

“About Adobe PDF” on page 346

Mark and bleed options for Adobe PDF

Bleed

is the amount of artwork that falls outside of the printing bounding box, or outside the crop marks and trim marks. You can include bleed in your artwork as a margin of error—to ensure that the ink extends all the way to the edge of the page after the page is trimmed or to ensure that an image can be stripped into a keyline in a document.

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.

Trim Marks

Places a mark at each corner of the trim area to indicate the PDF trim box boundaries.

Trim Mark Weight

Determines the stroke weight of the trim marks.

Registration Marks

Places marks outside the crop area for aligning the different separations in a color document.

Offset

Determines the distance of all printer’s marks from the edge of the artboard. The trim marks are at the edge of the space determined by the offset.

Color Bars

Adds a small square of color for each spot or process color. Spot colors converted to process colors are represented using process colors. Your service provider uses these marks to adjust ink density on the printing press.

Page Information

Places page information outside the crop area of the page. Page information includes the file name, page number, current date and time, and color separation name.

Bleed Top, Bottom, Left, Right

Controls the bleeds for the artwork. When the button is selected, these four values are proportional—editing one will update the values in the other three.

See also

“About Adobe PDF” on page 346

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Color management and PDF/X options for Adobe PDF

You can set the following options in the Output section of the Save Adobe PDF dialog box. Interactions between

Output options change depending on whether Color Management is on or off and which PDF standard is selected.

Color Conversion

Specifies how to represent color information in the Adobe PDF file. When you convert color objects to RGB or CMYK, also select a destination profile from the pop-up menu. All spot color information is preserved during color conversion; only the process color equivalents convert to the designated color space.

•

No Conversion

Preserves color data as is. This is the default when PDF/X-3 is selected.

•

Convert To Destination

Converts all colors to the profile selected for Destination. Whether the profile is included or not is determined by the Profile Inclusion Policy.

Note:

When Convert to Destination is selected, and the Destination doesn’t match the document profile, a warning icon appears beside the option.

•

Convert To Destination (Preserve Numbers)

Preserves color numbers for untagged content in the same color space as the destination profile (by assigning the destination profile, not converting to it). All other content is converted to the destination space. This option is not available if color management is turned off. Whether the profile is included or not is determined by the Profile Inclusion Policy.

Destination

Describes the gamut of the final RGB or CMYK output device, such as your monitor or a SWOP standard. Using this profile, Illustrator converts the document’s color information (defined by the source profile in the Working Spaces section of the Color Settings dialog box) to the color space of the target output device.

Profile Inclusion Policy

Determines whether a color profile is included in the file.

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. If color management is on, the menu lists the same profile selected for Destination Profile (provided it is a CMYK output device), in addition to other predefined printer profiles.

Output Condition

Describes the intended printing condition. This entry can be useful for the intended receiver of the PDF document.

Output Condition Identifier

A pointer to more information on the intended printing condition. The identifier is automatically entered for printing conditions that are included in the ICC registry.

Registry Name

Indicates the web address for more information on the registry. The URL is automatically entered for

ICC registry names.

Trapped

Indicates the state of trapping in the document. PDF/X compliance requires a value of True (selected) or

False (deselected). Any document that doesn’t meet the requirement will fail PDF/X compliance checking.

See also

“About Adobe PDF” on page 346

“Color-managing PDF files for printing” on page 210

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Font and flattening options for PDF

You can set the following options in the Advanced section of the Save Adobe PDF dialog box:

Subset Embedded Fonts When Percent Of Characters Used Is Less Than

Overprint

Specifies how to save overlapping colors that are set to overprint. You can choose to preserve the overprinting or discard the overprinting. If Compatibility (at the top of the dialog box) is set to Acrobat 4 (PDF 1.3), you can also choose to simulate overprinting by flattening the artwork. (See “About overprinting” on page 490.)

Preset

If Compatibility (at the top of the dialog box) is set to Acrobat 4 (PDF 1.3) and the artwork contains trans parency, you can specify a preset (or set of options) for flattening transparency. Alternately, click Custom to customize the flattener settings.

Note:

Acrobat 5 (PDF 1.4), Acrobat 6 (PDF 1.5), and Acrobat 7 (PDF 1.6) automatically preserve transparency in artwork. As a result, the Preset and Custom options are not available for these levels of compatibility.

See also

“About Adobe PDF” on page 346

“Printing and exporting transparent artwork” on page 484

Security options for PDF

When saving artwork in 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.

You can set the following options in the Security section of the Save Adobe PDF dialog box:

Encryption Level

Illustrator uses the RC4 method of security from RSA Corporation to password-protect PDF files.

Depending on the Compatibility setting (in the General section), the encryption level will be high or low.

Require A Password To Open The Document

Requires anyone who tries to open the PDF file to enter the password you specify.

Document Open Password

Sets the password to protect the PDF file. This option is only enabled when the previous option is selected.

Note:

If you forget a password, there is no way to recover it from the document. It’s a good idea to store passwords in a separate secure location in case you forget them.

Use A Password To Restrict Editing Security And Permissions Settings

Restricts access to the PDF file’s security settings. If the file is opened in Adobe Acrobat, the user can view the file but must enter the specified Permissions password in order to change the file’s Security and Permissions settings. If the file is opened in Illustrator, Photoshop, or InDesign, the user must enter the Permissions password, since it is not possible to open the file in a view-only mode.

Permissions Password

Sets the password to protect the PDF file. This option is only enabled when the previous option is selected.

Printing Allowed

Specifies the level of printing that users are allowed for the PDF document:

•

None

Prevents users from printing the document.

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•

Low Resolution

Lets users print, but at a resolution that prevents the user from re-creating the PDF file with different security settings. Printing may be slower because each page will be printed as a bitmapped image. This option is only available for high (128-bit RC4) encryption.

•

High Resolution

Lets users print at any resolution, directing high-quality vector output to PostScript and other printers that support advanced high-quality printing features.

Changes Allowed

Defines which editing actions are allowed in the PDF document:

•

None

Prevents the reader from making any changes to the document, including filling in signature and form fields.

•

Inserting, Deleting, And Rotating Of Pages

Lets users insert, delete, and rotate pages, and create bookmarks and thumbnails. This option is only available for high (128-bit RC4) encryption.

•

Filling In Of Form Fields And Signing

Lets users fill out 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) encryption.

•

Commenting, Filling In Of Form Fields, And Signing

Lets users add comments, fill out forms, and add digital signatures. This option doesn’t allow them to create form fields.

•

Page Layout, Filling In Of Form Fields, And Signing

Lets users insert, rotate, or delete pages and create bookmarks or thumbnail images, fill out forms, and add digital signatures. This option doesn’t allow them to create form fields.

This option is only available for low (40-bit RC4) encryption.

•

Any Except Extracting Of Pages

Lets users edit the document, create and fill out form fields, add comments, and add digital signatures.

Enable Copying Of Text, Images, And Other Content

Allows users to copy and extract content from the PDF. This option is only available for high (128-bit RC4) encryption.

Enable Text Access Of Screen Reader Devices For The Visually Impaired

Allows users to access content using software tools for the visually impaired. This option is only available for high (128-bit RC4) encryption.

Enable Plaintext Metadata

Allows users to copy and extract content from the PDF. This option is only available when Compatibility (in the General section) is set to Acrobat 6.0 (PDF 1.5) or later.

Enable Copying Of Text, Images, And Other Content And Access For The Visually Impaired

Allows users to copy and extract content from the PDF, as well as access content using software tools for the visually impaired. This option is only available for low (40-bit RC4) encryption.

See also

“About Adobe PDF” on page 346

File information and metadata

About metadata

File information—also called

metadata

—is increasingly important in all types of publishing. Metadata preserves information about the contents, copyright status, origin, and history of documents, and can be used to search for files.

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You can add file information to files saved in Illustrator, PDF, EPS, SVG, GIF, JPEG, Photoshop, and TIFF formats.

The information you add is embedded in the file using XMP (eXtensible Metadata Platform). XMP facilitates the exchange of metadata between Adobe applications and across publishing workflows. For example, you can save metadata from one file as a template, and then import the metadata into other files.

Companies can use the XMP Software Development Kit to customize the creation, processing, and interchange of metadata. For example, the XMP SDK can be used to add fields to the File Info dialog box. More information on

XMP and the XMP SDK is available on the Adobe Solutions Network ( http://partners.adobe.com

To add metadata to a file

Choose File > File Info.

Select a category from the list on the left side of the dialog box:

Description

Specifies information about the document, such as title, author, description, and keywords that can be used to search for the document. To specify copyright information, select Copyrighted from the Copyright State pop-up menu. Then enter the copyright notice string and the URL of the person or company who owns the copyright.

Origin

Provides information on the history of the artwork. To enter the current date in a short text format, click

Today. For Credit, enter the information needed in the credit line for a copyrighted image. Transmission Reference provides the Associated Press with information on the original transmission location of the artwork. For Urgency, specify the editorial urgency of the artwork—not its handling priority.

Advanced

Displays the XMP data for the file in a structured format.

Raw Data

Displays the raw XMP data for the file.

See also

“About metadata” on page 357

To save metadata as a template or XMP file

You can save metadata as a template or XMP file in order to import the metadata into other files.

Choose File > File Info.

Do one of the following:

•

To save metadata as a template, click the triangle icon at the top of the dialog box, and choose Save Metadata

Template. Enter a template name, and click Save.

•

To save metadata to an XMP file, click Save in the Advanced section of the dialog box. Type a file name, choose a location for the file, and click Save.

See also

“About metadata” on page 357

To import metadata into a document

Choose File > File Info.

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Do one of the following:

•

Click the triangle icon at the top of the File Info dialog box, and choose a template name from the top section of the pop-up menu. The metadata from the template will replace the current metadata. To append the current metadata instead, hold down Ctrl (Windows) or Command (Mac OS) when you choose the template name.

Note:

You must save a metadata template before you can import metadata from a template.

•

In the Advanced section of the File Info dialog box, click Replace to replace the current information with infor mation stored in an XMP file. Locate the XMP file containing the metadata you want to import, and click Open.

•

In the Advanced section of the File Info dialog box, click Load to add information stored in an XMP file to the current file information. For each File Info field, if the field does not contain information then it will be updated with contents from the file. Keywords will always be appended with the information from the file.

See also

“About metadata” on page 357

About the Document Info palette

You use the Document Info palette to see listings of general file information and object characteristics, as well as the number and names of graphic styles, custom colors, patterns, gradients, fonts, and placed art. To display the palette, choose Window > Document Info.

•

To view a different type of information, select an option from the palette menu: Document, Objects, Graphic

Styles, Brushes, Spot Color Objects, Pattern Objects, Gradient Objects, Fonts, Linked Images, Embedded Images, and Font Details.

•

To view information on only the selected object, choose Selection Only from the palette menu. Leaving this option deselected lists information about the entire document.

•

To save a copy of the file information as a text file, choose Save from the palette menu. Specify a name and location, and then click Save.

See also

“To work with palettes” on page 31

Chapter 14: Type

Updating legacy text

Updating type created in Illustrator 10

Type objects created in Illustrator 10 and earlier are uneditable until you update them for use in later versions. After you update you have access to all the text features in Illustrator CS2, such as paragraph and character styles, optical kerning, and full OpenType® font support.

You don’t have to update the text if you don’t need to edit it. Text that has not been updated is called

legacy text

. You can view, move, and print legacy text, but you can’t edit it. Legacy text has an x through its bounding box when selected.

After updating legacy text, you may notice some minor reflow changes. You can easily readjust the text on your own, or you can use a copy of the original text for reference. By default, Illustrator appends the word “[Converted]” to the filename when you update the text in a file, effectively making a copy of your document to preserve the integrity of your original file. If you don’t want Illustrator to append the filename, choose Edit > Preferences > General

(Windows) or Illustrator > Preferences > General (Mac OS), and deselect Append [Converted] Upon Opening

Legacy Files.

To update all legacy text in a document

❖

Do one of the following:

•

When opening the document, click Update when prompted by Illustrator.

•

After opening the document, choose Type > Legacy Text > Update All Legacy Text.

To update selected legacy text

❖

Do one of the following:

•

To update the text without creating a copy, select the type object and choose Type > Legacy Text > Update Selected

Legacy Text. Alternatively, select a type tool and click in the text that you want to update, or double-click the text that you want to update using the Selection tool. Then click Update.

•

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.

If you create a copy of legacy text when you update it, you can use the following commands:

•

Type > Legacy Text > Show Copies or Hide Copies to show or hide the copied text objects.

•

Type > Legacy Text > Select Copies to select copied text objects.

•

Type > Legacy Text > Delete Copies to delete copied text objects.

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Creating type

Entering text in artwork

In Illustrator, there are three methods for creating type: at a point, inside an area, and along a path.

•

Point type

is a horizontal or vertical line of text that begins where you click on the artboard and expands as you enter characters. Entering text this way is useful for adding a few words to your artwork.

•

Area type

uses the boundaries of an object to control the flow of characters, either horizontally or vertically. When the text reaches a boundary, it automatically wraps to fit inside the defined area. Entering text this way is useful when you want to create one or more paragraphs, such as for a brochure.

•

Type on a path

flows along the edge of an open or a closed path. When you enter text horizontally, the characters are parallel to the baseline. When you enter text vertically, the characters that are perpendicular to the baseline. In either case, the text flows in the direction in which points were added to the path.

If you enter more text than can fit within an area or along a path, a small box containing a plus symbol (+) appears near the bottom of the bounding area.

Example of overflow text

You can resize the text area or extend the path in order to display the overflow text. You can also thread the text into another object.

See also

“Importing text files into artwork” on page 364

“Threading text between objects” on page 368

“To delete empty type objects from your artwork” on page 364

Type tool gallery

Illustrator provides the following type tools:

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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.

The Path Type tool changes The Vertical Type tool creates paths to type paths, and lets vertical type and vertical you enter and edit type on type containers and lets you them. enter and edit vertical type.

The Vertical Area Type tool changes closed paths to vertical type containers and lets you enter and edit type within them.

The Vertical Path Type tool changes paths to vertical type paths and lets you enter and edit type on them

See also

“About the toolbox” on page 29

To enter text at a point

Do one of the following:

•

To create a horizontal line of text, select the Type tool .

•

To create a vertical line of text, select the Vertical Type tool .

The pointer changes to an I-beam within a dotted box. The small horizontal line near the bottom of the I-beam marks the position of the

baseline

, on which the text rests.

(Optional) Set text-formatting options in the Control palette, Character palette, or Paragraph palette.

Click where you want the line of text to begin.

Important:

Be sure not to click an existing object, because doing so converts the type object into area type or type on a path. If an existing object is located where you want to enter text, lock or hide the object.

Enter the text. Press Enter or Return to begin a new line of text within the same type object.

When you finish entering text, click the Selection tool to select the type object. Alternatively, Ctrl-click

(Windows) or Command-click (Mac OS) the text.

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To enter text in an area

Define the bounding area:

•

Select the Type tool or the Vertical Type tool , and drag diagonally to define a rectangular bounding area.

•

Draw the object you want to use as the bounding area. (It doesn’t matter if the object has stroke or fill attributes, because Illustrator automatically removes them.) Then select the Type tool , the Vertical Type tool , the

Area Type tool , or the Vertical Area Type tool and click anywhere on the object’s path.

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.

(Optional) Set text-formatting options in the Control palette, Character palette, or Paragraph palette.

Enter the text. Press Enter or Return to begin a new paragraph.

When you finish entering text, click the Selection tool to select the type object. Alternatively, Ctrl-click

(Windows) or Command-click (Mac OS) the text.

See also

“To resize a text area” on page 365

“To thread text between objects” on page 368

To enter text along a path

Do one of the following:

•

To create horizontal text along a path, select the Type tool or the Type On A Path tool .

•

To create vertical text along a path, select the Vertical type tool or the Vertical Type On A Path tool .

(Optional) Set text-formatting options in the Control palette, Character palette, or Paragraph palette.

Position the pointer on the path, and click. (It doesn’t matter if the path has stroke or fill attributes, because

Illustrator automatically removes them.)

Note:

If the path is closed, rather than open, you must use a Type On A Path tool.

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Enter the text.

When you finish entering text, click the Selection tool to select the type object. Alternatively, Ctrl-click

(Windows) or Command-click (Mac OS) the text.

See also

“To move or flip text along a path” on page 370

“To apply path type effects” on page 371

To 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.

Choose Object > Path > Clean Up.

Select Empty Text Paths, and click OK.

Importing and exporting text

Importing text files into artwork

You can import text into your artwork from a file that was created in another application. Illustrator supports the following formats for importing text:

•

Microsoft Word 97, 98, 2000, and 2002

•

RTF (Rich Text Format)

•

Plain text (ASCII) with ANSI, Unicode, Shift JIS, GB2312, Chinese Big 5, and Cyrillic encoding.

One advantage of importing text from a file, rather than copying and pasting it, is that imported text retains its character and paragraph formatting. For example, text from an RTF file retains its font and style specifications in

Illustrator. You can also set encoding and formatting options when importing text from a plain text file.

Important:

When importing text from Microsoft Word and RTF files, make sure that the fonts used in the file are available on your system. Missing fonts and font styles—including fonts that have the same name but different formats

(Type 1, TrueType, or CID)—may cause unexpected results. On Japanese systems, differences in character sets may prevent text that was entered in Windows from appearing on-screen in Mac OS.

To import text into an Illustrator file

To import text into a new file, choose File > Open, select the text file you want to open, and click Open.

To import text into an existing file:

Choose File > Place. Select the text file you want to import, and click Place.

If you are placing a plain text (.txt) file, do the following, and then click OK:

•

Specify the character set and platform that were used to create the file.

•

Select an Extra Carriage Returns option to determine how Illustrator processes extra carriage returns in the file.

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Select the Extra Spaces option if you want Illustrator to replace strings of spaces in the file with tabs. Enter the number of spaces to be replaced by a tab.

To export text to a text file

Using a type tool, select the text you want to export.

Choose File > Export.

In the Export dialog box, select a location for the file and enter a filename.

Choose Text Format (TXT) as the file format.

Enter the name of the new text file in the name box, and click Save (Windows) or Export (Mac OS).

Choose a platform and encoding method, and click Export.

Area type

To resize a text area

❖

Do one of the following:

•

Select the type object using the Selection tool or Layers palette, 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.

Resizing a type area with the Direct Selection tool

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•

Select the type object using the Selection tool or Layers palette, and choose Type > Area Type Options. Enter values for Width and Height, and click OK. If the text area is not a rectangle, these values determine the dimen sions of the object’s bounding box.

To change the margin around a text area

When working with an area type object, you can control the margin between the text and the bounding path. This margin is referred to as the

inset spacing

Select an area type object.

Choose Type > Area Type Options.

Specify a value for Inset Spacing, and click OK.

Type without inset spacing (left) compared to type with inset spacing (right)

To 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.

Type with First Baseline set to Cap Height (left) compared to type with First Baseline set to Leading (right)

Select an area type object.

Choose Type > Area Type Options.

For First Baseline, choose one of the following options:

Ascent

The height of the “d” character falls below the top of the type object.

Cap Height

The tops of uppercase letters touch the top of the type object.

Leading

Uses the text’s leading value as the distance between the baseline of the first line of text and the top of the type object.

x Height

The height of the “x” character falls below the top of the type object.

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Em Box Height

The top of the em box in Asian fonts touches the top of the type object. This option is available only when the Show Asian Options preference is selected.

Fixed

Specifies the distance between the baseline of the first line of text and the top of the type object in the Min text box.

For Min, specify the minimum value for the baseline offset.

For example, if you select Leading for First Baseline and specify a minimum value of 1p, Illustrator uses the leading value only when it’s greater than 1 pica.

Click OK.

See also

“To shift the baseline” on page 385

“To display Asian type options” on page 406

To create rows and columns of text

Select an area type object.

Choose Type > Area Type Options.

In the Rows and Columns sections of the dialog box, set the following options:

Number

to specify the number of rows and columns you want the object to contain.

Span

to specify the height of individual rows and the width of individual columns.

Fixed

to determine what happens to the span of rows and columns if you resize the type area. When this option is selected, resizing the area can change the number of rows and columns, but not their width. Leave this option deselected if you want row and column widths to change when you resize the type area.

Options for resizing rows and columns

Original columns

Columns resized with Fixed selected

Columns resized with Fixed deselected

Gutter

to specify the distance between rows or columns.

In the Options section of the dialog box, select a Text Flow option to determine how text flows between rows and columns: By Rows or By Columns .

Click OK.

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To fit a headline across the full width of a type area

Select a type tool, and click in the paragraph you want to fit across the type area.

Choose Type > Fit Headline.

Note:

If you change the formatting of the type, be sure to reapply the Fit Headline command.

Threading text between objects

To have text thread (or continue) from one object to the next, you must first link the objects. Linked type objects can be of any shape; however, the text must be entered in an area or along a path (not at a point).

Each area type object contains an

in port

and an

out port

, which enable you to link to other objects and create a linked copy of the type object. An empty port indicates that all the text is visible and that the object isn’t linked. An arrow in a port indicates that the object is linked to another object. A red plus sign in an out port indicates that the object contains additional text. This remaining unseen text is called

overflow text

Ports on linked type objects

When working with text that threads among objects, it’s often useful to show threads, if they are hidden. To do so, choose View > Show Text Threads and then select a linked object.

See also

“Entering text in artwork” on page 361

To thread text between objects

Use the Selection tool to select an area type object.

Click the in port or the out port of the selected type object. The pointer changes to the loaded text icon .

Do one of the following:

•

To link to an existing object, position the pointer on the object’s path. The pointer changes to a . Click the path to link the objects.

•

To link to a new object, click or drag on an empty part of the artboard. Clicking creates an object of the same size and shape as the original; dragging lets you create a rectangular object of any size.

Another method for threading text between objects is to select an area type object, select the object (or objects) you want to link to, and then choose Type > Threaded Text > Create.

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To work with text threads

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.

Select a linked type object.

Do any of the following:

•

To break the thread between two objects, double-click the port on either end of the thread. The text flows into the first object.

•

To release an object from a text thread, choose Type > Threaded Text > Release Selection. The text flows into the next object.

•

To remove all threads, choose Type > Threaded Text > Remove Threading. The text stays in place.

Wrapping text around objects

You can wrap text around any object, including type objects, imported images, and objects you draw in Illustrator.

If the wrap object is a bitmap image, Illustrator wraps the text around opaque or partially opaque pixels and ignores fully transparent pixels.

Wrapping is determined by the stacking order of objects, which you can view in the Layers palette. In order for

Illustrator to wrap text around an object, the wrap object must be directly above it. Illustrator does not wrap text that is above the wrap object in the stacking order or in a separate sublayer or group from the wrap object.

Text wrapped around objects

Wrap objects

Wrapped text

See also

“About the Layers palette” on page 278

“About the stacking order” on page 282

To wrap text around an object

Select the object or objects around which you want the text to wrap. This is called the

wrap object.

In the Layers palette, make sure that the wrap object is above the text you want to wrap around it.

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Important:

If the layer contains multiple type objects, move any that you don’t want to wrap around the wrap object either into another layer or above the wrap object.

Choose Object > Text Wrap > Make Text Wrap.

The Text Wrap Options dialog box appears. If you wish, set the following options. Then click OK.

Offset

Specifies the amount of space between the text and the wrap object. You can enter a positive or negative value.

Invert Wrap

Wraps the text around the reverse side of the object.

See also

“About the Layers palette” on page 278

“About the stacking order” on page 282

To work with wrap objects

Select the wrap object.

Do any of the following:

•

To reset wrap options for an existing wrap object, choose Object > Text Wrap > Text Wrap Options.

•

To unwrap text from an object, choose Object > Text Wrap > Release Text Wrap.

Type on a path

To move or flip text along a path

Select the type object.

A bracket appears at the beginning of the type, at the end of the path, and at the midpoint between the start and end brackets.

Position the pointer over the type’s center bracket until a small icon appears next to the pointer .

Do one of the following:

•

To move text along the path, drag the center bracket along the path. Hold down Ctrl (Windows) or Command

(Mac OS) to prevent the type from flipping to the other side of the path.

Moving type along a path

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•

To flip the direction of text along a path, drag the bracket across the path. Alternatively, choose Type > Type On

A Path > Type On A Path Options, select Flip, and click OK.

Flipping type along a path

To move type across a path without changing the direction of the type, use the Baseline Shift option in the Character palette. For example, if you created type that runs from left to right across the top of a circle, you can enter a negative number in the Baseline Shift text box to drop the type so that it flows inside the top of the circle.

See also

“To shift the baseline” on page 385

To apply path type effects

Path type effects let you distort the orientation of characters on a path.

Select the type object.

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.

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Path type effects

Rainbow

Skew

3D Ribbon

Stair Step

Gravity

To adjust the vertical alignment of type on a path

Select the type object.

Choose Type > Type On A Path > Type On A Path Options.

Choose an option from the Align To Path menu to specify how to align all characters to the path, relative to a font’s total height:

Ascender

Aligns along the font’s top edge.

Descender

Aligns along the font’s bottom edge.

Center

Aligns along the point halfway between the font’s ascender and descender.

Baseline

Aligns along the baseline. This is the default setting.

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 palette. For example, type a negative value in the Baseline Shift text box to lower the type.

See also

“To shift the baseline” on page 385

To adjust character spacing around sharp turns

When characters flow around a sharp curve or acute angle, they fan out in such a way that there may appear to be extra space between them. You can tighten the spacing of characters on curves using the Spacing option in the Type

On A Path Options dialog box.

Select the type object.

Choose Type > Type On A Path > Type On A Path Options.

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For Spacing, type a value in points. Higher values remove the extra space from between characters positioned on sharp curves or angles.

Type without spacing adjustment (left) compared to type with spacing adjustment (right)

Note:

The Spacing value has no effect on characters positioned on straight segments. To change spacing of characters anywhere along the path, select them, and then apply kerning or tracking.

Editing text

To insert the cursor in text

❖

Select any type tool, and click in the text.

See also

“Keys for working with type” on page 531

To show or hide nonprinting characters

Nonprinting characters include hard returns (line breaks), soft returns (line breaks), tabs, spaces, nonbreaking spaces, double-byte characters (including spaces), discretionary hyphens, and the end-of-text character.

To make the characters visible as you format and edit type, choose Type > Show Hidden Characters. A check mark indicates that nonprinting characters are visible.

To specify curly or straight quotes

Typographer’s quotes

, often referred to as curly quotes, blend in with the curves of the font. Typographer’s quotes are traditionally used for quotation marks and apostrophes.

Straight quotes

are traditionally used as abbreviations for feet and inches.

Choose File > Document Setup, and choose Type from the pop-up menu at the top of the dialog box.

Do one of the following, and click OK:

•

To use straight quotes, deselect Use Typographer’s Quotes.

•

To use typographer’s quotes, select Use Typographer’s Quotes, choose the language for which you want to set quotes, and choose options for Double Quotes and Single Quotes.

Note:

You can set quote options for multiple languages. These quotes are applied to text based on the language you assign using the Character palette or Default Language preference.

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You can use the Smart Punctuation command to replace straight quotes with typographer’s quotes.

See also

“Assigning languages to text” on page 377

“To use smart punctuation” on page 376

To check spelling

Choose Edit > Check Spelling.

To set options for finding and ignoring words, click the arrow icon at the bottom of the dialog box and set the options as desired.

Click Start to begin checking the spelling.

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 text 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.

•

Click Add to have Illustrator store an acceptable but unrecognized word in the dictionary so that subsequent occurrences are not considered misspellings.

When Illustrator finishes checking your document, click Done.

Illustrator can check for spelling errors in a variety of languages, based on the language that you assign to words.

See also

“Assigning languages to text” on page 377

“To edit the spelling dictionary” on page 374

To edit the spelling dictionary

Choose Edit > Edit Custom Dictionary.

Do any of the following, and click Done:

•

To add a word to the dictionary, type the word in the Entry text box, and click Add.

•

To remove a word from the dictionary, select the word in the list, and click Delete.

•

To modify a word in the dictionary, select the word in the list. Then type the new word in the Entry text box, and click Change.

To find and replace text

Do one of the following:

•

To search the entire document, deselect all objects.

•

To limit the search to a type object, select the object.

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•

To limit the search to a range of characters, select the characters.

Choose Edit > Find and Replace.

Enter the text string you want to find and, if desired, the text string with which to replace it.

You can choose a variety of special characters from the pop-up menus to the right of the Find and Replace With options.

To customize how Illustrator searches for the specified text string, select any of the following options:

Match Case

Searches only for text strings that exactly match the uppercase and lowercase text in the Find text box.

Find Whole Word

Searches only for entire words that match the text in the Find text box.

Search Backwards

Searches the file from the bottom to the top of the stacking order.

Check Hidden Layers

Searches for text in hidden layers. When this option is deselected, Illustrator ignores text in hidden layers.

Check Locked Layers

Searches for text in locked layers. When this option is deselected, Illustrator ignores text in locked layers.

Click Find to begin the search.

If Illustrator finds an instance of the text string, do one of the following:

•

Click Replace to replace the text string, then click Find Next to find the next instance.

•

Click Replace & Find to replace the text string and find the next instance.

•

Click Replace All to replace all instances of the text string in the document.

Click the close icon to close the dialog box.

To find the next instance of a text string when the Find And Replace dialog box is closed, choose Edit > Find Next.

To change capitalization styles

Select the characters or type objects you want to change.

Choose one of the following in the Type > Change Case submenu:

UPPERCASE

to change all characters to uppercase.

Note:

The UPPERCASE command causes discretionary ligatures to revert to normal text. This also occurs with the Title

Case and Sentence Case commands when a discretionary ligature appears at the beginning of a word.

lowercase

to change all characters to lowercase.

Title Case

to capitalize the first letter of each word.

Sentence Case

to capitalize the first letter of each sentence.

Note:

The Sentence Case command assumes that the period (.), 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.

If you’re using an OpenType font, you may want to take advantage of All Caps formatting to create more elegant type.

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See also

“To apply all caps and small caps” on page 388

To use smart punctuation

The Smart Punctuation command searches for keyboard punctuation characters and replaces them with their typographic equivalents. In addition, you can use the Smart Punctuation command to globally insert ligatures and fractions, if the font includes these characters.

If you’re using an OpenType font, use the OpenType palette instead of the Smart Punctuation dialog box typeset ligatures and fractions.

If you want to replace characters in specific text, rather than all text in the document, select the desired text objects or characters.

Choose Type > Smart Punctuation.

Select one or more of the following options:

ff, fi, ffi Ligatures

Renders ff, fi, or ffi letter combinations as ligatures.

ff, fl, ffl Ligatures

Renders ff, fl, or ffl letter combinations as ligatures.

Smart Quotes

Changes straight keyboard quotation marks into curly quotes.

Note:

The Smart Quotes option always replaces straight quotes with curly quotes, regardless of the Double Quotes and

Single Quotes settings in the Document Setup dialog box.

Smart Spaces

Eliminates multiple spaces after a period.

En, Em Dashes

Replaces a double keyboard dash with an en dash and a triple keyboard dash with an em dash.

Ellipses

Replaces three keyboard periods with ellipsis points.

Expert Fractions

Replace separate characters used to represent fractions with their single-character equivalents.

Select Entire Document to replace text symbols in the entire file or Text Only to replace symbols only in selected text.

(Optional) Select Report Results to see a list of the number of symbols replaced.

Click OK to search for and replace selected characters.

See also

“To use ligatures and contextual alternates” on page 393

“To format fractions and ordinals” on page 394

“To specify curly or straight quotes” on page 373

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Language

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. Adding a foreign language to a document doesn’t cause confusion, because foreign characters have their own designations that don’t interfere with the encoding from other languages in the same project.

Platform-neutral

Because Windows and Macintosh operating systems now support Unicode, moving a file between the two platforms is easier. No longer will you need to proofread an Illustrator file just because you moved to it a

Windows computer from a Macintosh computer or vice versa.

Robust

Because Unicode-compliant fonts offer a larger number of potential characters, specialty type characters are readily available.

Flexible

With Unicode support, substituting a typeface in a project won’t result in substituted characters. With a

Unicode-compliant font, a

is a

no matter which typeface is used.

All of these things make it possible for a French designer to design for a client in Korea and hand the job off to a partner in the United States without having to struggle with the text. All the U.S. designer needs to do is enable the correct language in the operating system, load the foreign-language font, and continue the project.

Assigning languages to text

Illustrator uses Proximity language dictionaries for both spelling and hyphenation. Each dictionary contains hundreds of thousands of words with standard syllable breaks. You can assign a language to an entire document or apply a language to selected text.

Examples of hyphenation for different languages

“Glockenspiel” in English

“Glockenspiel” in Traditional German

“Glockenspiel” in Reformed German

To apply a language to all text

Choose Edit > Preferences > Hyphenation (Windows) or Illustrator > Preferences > Hyphenation (Mac OS).

Select a dictionary from the Default Language pop-up menu, and click OK.

To assign a language to selected text

Select the text.

In the Character palette, choose the appropriate dictionary from the Language menu. If the Language menu isn’t showing, choose Show Options from the Character palette menu.

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See also

“Character palette” on page 381

Letterforms as graphic objects

Modifying letterforms as graphic objects

The Create Outlines command (and the same command as an effect—Outline Object) lets you turn type into a set of compound paths that you can edit and manipulate as you would any other graphic object. Create Outlines and

Outline Object are useful for changing the look of large display type, but they are rarely useful for body text or other type at small sizes.

These commands get font outline information 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.

Modifying a letterform

Original type object

Type converted to outlines, ungrouped, and modified

Note:

You can’t convert bitmap fonts or outline-protected fonts to outlines.

When you convert type to outlines, the type loses its

hints

—instructions built into outline fonts to adjust their shape so that your system displays or prints them optimally at a wide range of sizes. Therefore, if you plan to scale the type, do so by adjusting its point size before converting it to outlines.

You must convert all the type in a selection to outlines; you cannot convert a single letter within a string of type. To convert a single letter into an outline, create a separate piece of type containing only that letter.

To convert type to outlines

Converting type to outlines creates a compound path that you can modify.

Select the type object.

Choose Type > Create Outlines.

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See also

“Modifying letterforms as graphic objects” on page 378

“About compound paths” on page 307

Transforming type

You can rotate, reflect, scale, and shear type just as you do other objects. However, how you select the type affects the transformation results:

•

To transform the type along with its bounding path, select the type object.

•

To transform just the bounding path, but not the type it contains, select the type path.

Rotated type path (left) compared to rotated type and path (right)

See also

“Transforming objects” on page 290

To set anti-aliasing options for type

When you save artwork in a bitmap format—such as JPEG, GIF, or PNG—Illustrator rasterizes all objects at 72 pixels per inch and applies anti-aliasing to them. However, if your artwork contains type, the default anti-aliasing settings may not produce the desired results. Illustrator provides several options specifically for rasterizing type. In order to take advantage of these options, you must rasterize type objects before you save the artwork.

Select the type object, and do one of the following:

•

To permanently rasterize the type, choose Object > Rasterize.

•

To create the appearance of rasterization without changing the object’s underlying structure, choose Effect >

Rasterize.

Choose an anti-aliasing option:

None

to apply no anti-aliasing and maintain the hard edges of type when it is rasterized.

Type Optimized

to apply 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.

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Selecting type

About selecting type

You must select type before you can format or edit it. You can select one or more characters, an entire type object, or a type path.

•

Selecting characters lets you edit them, format them using the Character palette, 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 palette.

•

Selecting a type object lets you apply global formatting options to all the characters in the object, including options from the Character and Paragraph palettes, fill and stroke attributes, and transparency settings. In addition, you can apply effects, multiple fills and strokes, and opacity masks to a selected type object. (This is not possible for individually selected characters.) When a type object is selected, a bounding box appears around it in the document window and the word “Type” appears in the Appearance palette.

•

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 palette.

The Type Object Selection By Path Only preference determines the sensitivity of the selection tools when selecting type objects in the document window. When this preference is selected, you must click directly on the type path in order to select the type. When this preference is deselected, you can click anywhere in the type bounding box to select the type. You can set this preference by choosing Edit > Preferences > Type (Windows) or Illustrator > Preferences >

Type (Mac OS).

To select characters

❖

Select any type tool, and do one of the following:

•

Drag to select one or more characters. Shift-drag to extend or reduce the selection.

•

Position the pointer in a word, and double-click to select that word.

•

Position the pointer in a paragraph, and triple-click to select the entire line.

•

Select one or more characters, and choose Select > All to select all the characters in the type object.

See also

“Keys for working with type” on page 531

To select type objects

❖

Do any of the following:

•

In the document window, click the type with the Selection tool or the Direct Selection tool . Shift-click to select additional type objects.

•

In the Layers palette, locate the type object you want to select and then click its right edge, between the target button and the scroll bar. Shift-click at the right edge of items in the Layers palette to add or remove objects to the existing selection.

•

To select all type objects in a document, choose Select > Object > Text Objects.

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See also

“Selection tool gallery” on page 262

To select a type path

Select the Direct Selection tool or the Group Selection tool .

If the type object is selected, click outside the object’s bounding box to deselect it.

Click on the type path, being careful not to click on the characters. (If you do click on a character, you will select the type object instead of the type path.)

Selecting a type path is easiest when you’re in Outline view.

See also

“Selection tool gallery” on page 262

Formatting characters

To 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.

Do one of the following:

•

To change the appearance of specific characters in a type object, select the characters.

•

To change the appearance of all characters in a type object, or to apply multiple fills and strokes, select the type object.

•

To fill or stroke a type path, select the type path.

Apply fills, strokes, transparency settings, effects, and graphic styles as desired.

Use the Control palette to quickly change the color of selected type.

Note:

When you change the color of a type object, Illustrator overwrites the attributes of individual characters in the type object.

See also

“About appearance attributes” on page 419

Character palette

You use the Character palette to apply options for formatting individual characters in your documents. To display the palette, choose Window > Type > Character.

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To set an option in the Character palette, choose a value from the pop-up menu on the right side of the option. For options with numeric values, you can also use the up and down arrows to set the value, or you can edit the value directly in the text box. When you edit a value directly, press Enter or Return to apply a value, Shift+Enter or

Shift+Return to apply a value and then highlight the value just edited, or Tab to apply a value and move to the next text box in the palette.

A B

Character palette

Font

Font Style

Font Size

Kerning

Horizontal Scale

Baseline Shift

Leading

racking

Vertical Scale

Character

Rotation

Language

You can access additional commands and options in the Character palette menu. To use this menu, click the triangle in the upper right corner of the palette.

By default, only the most commonly used options are visible in the Character palette. To show all options, choose

Show Options from the palette menu. Alternatively, click the double triangle on the palette’s tab to cycle through the display sizes.

See also

“Keys for working with type” on page 531

“To work with palettes” on page 31

Fonts

About fonts

A font is a set of characters—letters, numbers, and symbols—that share a common weight, width, and style. When you select a font, you can select the

font family

and its

font style

independently. The font family is a collection of fonts sharing an overall typeface design (for example, Times). A font style is a variant of an individual font in the font family (for example, regular, bold, or italic). The range of available font styles varies with each font.

Illustrator comes with a wide variety of fonts. To view a catalog of these fonts, choose Help > Welcome Screen, and click Browse Cool Extras.

See also

“OpenType fonts” on page 391

“About missing fonts” on page 384

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To select a font family and style

Select the characters or type objects you want to change. If you don’t select any text, the font applies to new text you create.

Select a font family and style using the Control palette, Type menu, or Character palette:

•

In the Control palette, set the Font and Font Style options.

•

In the Type menu, select a name from the Font or Recent Fonts submenu. Using the Font menu is convenient because it displays a preview of the available fonts.

•

In the Character palette, set the Font Family and Font Style options. In addition to choosing a name from the pop-up menus, you can click the current name and type in the first few characters of the name you want.

To change the number of fonts in the Recent Fonts submenu, choose Edit > Preferences > Type (Windows) or

Illustrator > Preferences > Type (Mac OS), and set the Number Of Recent Fonts option.

Previewing fonts

The Type > Font menu and Find Font dialog box display typeface names in the corresponding fonts. The following icons are used to indicate different kinds of fonts:

•

OpenType

•

Type 1

•

TrueType

•

Multiple Master

•

Composite

Note:

If Illustrator is unable to display a typeface name in the corresponding font, a sample of glyphs from the font appear following the name.

You can turn off the preview feature or change the point size of the font names by choosing Edit > Preferences > Type

(Windows) or Illustrator > Preferences > Type (Mac OS), and setting the Font Preview Size option.

To find and replace fonts

Choose Type > Find Font.

Move the Find Font dialog box so that you can see all the text in your document.

Select the name of a font you want to find in the top section of the dialog box. The first occurrence of the font is highlighted in the document window.

Select a replacement font in the bottom section of the dialog box. You can customize the list of replacement fonts by doing the following:

•

Choose an option from the Replace With Font From pop-up menu: Document to list only the fonts that are used in the document or System to list all fonts on your computer.

•

Select the kinds of fonts you want to include in the list; deselect the kinds of fonts you don’t want to include.

Do one of the following:

•

Click Change to change just one occurrence of the selected font.

•

Click Change All to change all occurrences of the selected font.

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When there are no more occurrences of a font in your document, its name is removed from the Fonts in Document list.

Repeat steps 2 through 4 to find and replace a different font.

Click Done to close the dialog box.

Note:

When you replace a font using the Find Font command, all other type attributes remain the same.

To choose a type size

By default, type size is measured in

points

(a point equals 1/72 of an inch). You can specify any type size from 0.1 to

1296 points, in 0.001-point increments.

Select the characters or type objects you want to change. If you don’t select any text, the type size applies to new text you create.

Do one of the following:

•

In the Control palette or Character palette, set the Font Size option.

•

Choose a size from the Type > Size menu. Choosing Other lets you type a new size in the Character palette.

To change the unit of measurement for type, choose Edit > Preferences > Units & Display Performance (Windows) or Illustrator > Preferences > Units & Display Performance (Mac OS), and set the Type option.

See also

“Character palette” on page 381

“Keys for working with type” on page 531

About missing fonts

If a document uses fonts not installed on your system, you see an alert message when you open it. Illustrator indicates which fonts are missing and substitutes missing fonts with available matching fonts. When this happens, you can select the text and apply any other available font.

To make missing fonts available in Illustrator, either install the missing fonts on your system or activate the missing fonts using ATM Deluxe or another font management application.

You can highlight substituted fonts by choosing File > Document Setup, and choose Type from the pop-up menu at the top of the dialog box. Then select Substituted Fonts, and then click OK. Text formatted with missing fonts appears in pink highlighting.

Greeking type

Adobe Illustrator

greeks

—displays as a dimmed gray bar—type below a specified point size. Greeking type affects only artwork displayed on-screen, not the printed image. To change the greeking limit, choose Edit > Preferences >

Type (Windows) or Choose Illustrator > Preferences > Type (Mac OS), and enter a value in the Greeking text box.

Any type at or below the specified type size is replaced on-screen with non-letterforms that act as placeholders in the artwork. In addition, if you reduce the document view so that type on-screen falls below the greek type limit because of the zoom level, the type appears greeked. For example, if the greeking limit is set at 6 points, 12-point type viewed at a 50% zoom level appears greeked.

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Line and character spacing

Leading

The vertical space between lines of type is called

leading

(rhymes with

sledding

). Leading is measured from the baseline of one line of text to the baseline of the line above it.

Baseline

is the invisible line on which most letters sit.

The default auto-leading option sets the leading at 120% of the type size (for example, 12-point leading for 10-point type). When auto-leading is in use, Illustrator displays the leading value in parentheses in the Leading menu of the

Character palette. You can change this default auto-leading by choosing Justification from the Paragraph palette menu and specifying a percentage from 0 to 500.

By default, leading is a character attribute, which means that you can apply more than one leading value within the same paragraph. The largest leading value in a line of type determines the leading for that line.

Note:

When working with horizontal Asian type, you can specify how leading is measured, either from baseline to baseline or from the top of one line to the top of the next. (See “To specify how leading is measured in Asian type” on page 415.)

To set the leading

Select the characters or type objects you want to change. If you don’t select any text, the leading applies to new text you create.

In the Character palette, set the Leading option ( for vertical text).

See also

“Character palette” on page 381

“Keys for working with type” on page 531

To shift the baseline

Shifting the baseline is especially useful when you’re hand-setting fractions or adjusting the position of a picture font.

Select the characters or type objects you want to change. If you don’t select any text, the shift applies to new text you create.

In the Character palette, set the Baseline Shift option ( for vertical text). Positive values move the character’s baseline above the baseline of the rest of the line; negative values move it below the baseline.

-6 -2 0 2

Type with different Baseline Shift values

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See also

“Character palette” on page 381

“To raise or lower the first baseline in a text area” on page 366

“Keys for working with type” on page 531

Kerning and tracking

Kerning

is the process of adding or subtracting space between specific pairs of characters.

Tracking

is the process of loosening or tightening the spacing between the characters in selected text or an entire block of text.

You can automatically kern type using metrics kerning or optical kerning.

Metrics kerning

(called Auto kerning in

Illustrator) 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, Tr, Ta, Tu, Te, Ty, Wa, WA, We, Wo, Ya, and Yo. Illustrator uses metrics kerning by default so that specific pairs are automatically kerned when you import or type text.

Some fonts include robust kern-pair specifications. However, when a font includes only minimal built-in kerning or none at all, or if you use two different typefaces or sizes in one or more words on a line, you may want to use the

optical kerning

option. Optical kerning adjusts the spacing between adjacent characters based on their shapes.

Kerning and tracking options

Original text

Text with optical kerning

Text with manual kerning between W and a

Text with tracking

Cumulative kerning and tracking

You can also use

manual kerning,

which is ideal for adjusting the space between two letters. Tracking and manual kerning are cumulative, so you can first adjust individual pairs of letters, and then tighten or loosen a block of text without affecting the relative kerning of the letter pairs.

When you click to place the insertion point between two letters, Illustrator displays kerning values in the Character palette. Metrics and optical kerning values (or defined kern pairs) appear in parentheses. Similarly, if you select a word or a range of text, Illustrator displays the tracking values in the Character palette.

Tracking and kerning are both measured in 1/1000 em, a unit of measure that is relative to the current type size. In a 6-point font, 1 em equals 6 points; in a 10-point font, 1 em equals 10 points. Kerning and tracking are strictly proportional to the current type size.

Note:

Values for kerning and tracking affect Japanese text, but normally these options are used to adjust the aki between roman characters. (See “Working with aki” on page 407.)

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See also

“To turn fractional character widths off or on” on page 387

To adjust kerning

❖

Do any of the following:

•

To use a font’s built-in kerning information for selected characters, select Auto for the Kerning option ( for vertical text) in the Character palette.

•

To automatically adjust the spacing between selected characters based on their shapes, select Optical for the

Kerning option in the Character palette.

•

To adjust kerning manually, place an insertion point between two characters, and set the desired value for the

Kerning option in the Character palette. (Note that if a range of text is selected, you can’t manually kern the text.

Instead, use tracking.)

•

To turn off kerning for selected characters, set the Kerning option in the Character palette to 0 (zero).

See also

“Character palette” on page 381

“Keys for working with type” on page 531

To adjust tracking

Select the range of characters or the type object that you want to adjust.

In the Character palette, set the Tracking option ( for vertical text).

See also

“Character palette” on page 381

“Keys for working with type” on page 531

To turn fractional character widths off or on

By default,

fractional character widths

are used between characters. This means that the spacing between characters varies, and will sometimes use only fractions of whole pixels.

In most situations, fractional character widths provide the best spacing for type appearance and readability. However, for type in small sizes (less than 20 points) displayed online, fractional character widths can cause type to run together or have too much extra space, making it difficult to read.

•

To set type spacing for the entire document in whole-pixel increments, choose System Layout from the Character palette menu.

•

To re-enable fractional character widths, choose Fractional Widths from the Character palette menu.

See also

“Character palette” on page 381

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Underline, strikethrough, caps, superscripts, and subscripts

To underline or strike through text

Select the characters or type objects you want to change. If you don’t select any text, the setting applies to new text you create.

In the Character palette, click the Underline button or the Strikethrough button .

See also

“Character palette” on page 381

To apply all caps and small caps

When you format text as small caps, Illustrator automatically uses the small-cap characters designed as part of the font, if available. Otherwise, Illustrator

synthesizes

the small caps using scaled-down versions of the regular capital letters.

Regular capital letters (top) compared to small-cap letters (bottom)

Select the characters or type objects you want to change. If you don’t select any text, the setting applies to new text you create.

Choose All Caps or Small Caps from the Character palette menu.

To specify the size for synthesized small caps, choose File > Document Setup, and choose Type from the pop-up menu at the top of the dialog box. For Small Caps, type a percentage of the original font size for text to be formatted as small caps. (The default value is 70%.)

To change the capitalization style of text to uppercase, lowercase, title case, or sentence case, use the Type > Change

Case command.

See also

“Character palette” on page 381

“To change capitalization styles” on page 375

To create superscripts or subscripts in non-OpenType fonts

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.

Select the characters or type objects you want to change. If you don’t select any text, any new text you create will be rendered as superscripts or subscripts.

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Choose Superscript or Subscript from the Character palette menu.

If you’re using an OpenType font, use the Position menu in the OpenType palette to set superscript and subscript type.

See also

“Character palette” on page 381

To change the size and position of superscripts or subscripts

When you create superscript or subscript type, Illustrator applies a predefined baseline shift value and type size. The values applied are percentages of the current font size and leading, and are based on settings in the Type section of the Document Setup dialog box.

Choose File > Document Setup, and choose Type from the pop-up menu at the top of the dialog box.

Specify the following values for Superscript and Subscript, and then click OK:

•

For Size, type a percentage of the font size for superscripted and subscripted text.

•

For Position, type a percentage of the regular leading to specify how much the superscript and subscript text will move.

Special characters

About character sets and alternate glyphs

Typefaces include many characters in addition to the ones you see on your keyboard. Depending on the font, these characters can include ligatures, fractions, swashes, ornaments, ordinals, titling and stylistic alternates, superior and inferior characters, old-style figures, and lining figures. A

glyph

is a specific form of a character. For example, in certain fonts, the capital letter A is available in several forms, such as swash and small cap.

There are two ways to insert alternate glyphs:

•

The

Glyphs palette

lets you view and insert glyphs from any typeface.

•

The

OpenType palette

lets you set up rules for using glyphs. For example, you can specify that you want to use ligatures, titling characters, and fractions in a given text block. Using the OpenType palette is easier than inserting glyphs one at a time and ensures a more consistent result. However, the palette works only with OpenType fonts.

See also

“To highlight alternate glyphs in the text” on page 390

About the Glyphs palette

You use the Glyphs palette to view the glyphs in a font and insert specific glyphs in your document. To display the palette, choose Window > Type > Glyphs.

By default, the Glyphs palette displays all the glyphs for the currently selected font. You can change the font by selecting a different font family and style at the bottom of the palette. If any characters are currently selected in your document, you can display alternate characters by selecting Alternates For Current Selection from the Show menu at the top of the palette.

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B C D

Glyphs palette

Show menu

Font family

Font style

Zoom buttons

When you select an OpenType font in the Glyphs palette, you can restrict the palette 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.

Pop-up menu for alternate glyphs

See also

“To work with palettes” on page 31

To insert a character using the Glyphs palette

Using a type tool, click to place the insertion point where you want to enter the character.

Double-click the character you want to insert in the Glyphs palette.

To replace a character with an alternate glyph

In the Glyphs palette, choose Alternates For Current Selection from the Show pop-up menu.

Using a type tool, select a character in your document. The Glyphs palette displays alternate glyphs, if they’re available.

Double-click a glyph in the Glyphs palette.

Note:

Additional replacement options are available for Asian glyphs.

See also

“To replace Asian characters with a different glyph form” on page 407

To highlight alternate glyphs in the text

Choose File > Document Setup, and choose Type from the pop-up menu at the top of the dialog box.

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Select Substituted Glyphs, and click OK. Substituted glyphs in the text are highlighted.

OpenType fonts

The OpenType font standard was developed jointly by Adobe and Microsoft, and it brings the advantages of the

PostScript Type 1 and TrueType font formats into a new format that takes advantage of Unicode character encoding.

OpenType fonts use a single font file for both Windows and Macintosh computers, so you can move files from one platform to another without worrying about font substitution and other problems that cause text to reflow.

OpenType fonts display the icon (look in the Type > Font menu).

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. In Illustrator, these options are available in the

OpenType palette; in InDesign and Photoshop, these options are in the Character palette menu.

Automatic alternate glyph substitution in an OpenType font

OpenType fonts may include an expanded character set and layout features to provide richer linguistic support and advanced typographic control. Feature-rich OpenType fonts from Adobe with support for central European (CE) languages can be distinguished by the word “Pro,” which is part of the font name and appears in application font menus. OpenType fonts that don’t contain central European language support are labeled “Standard,” and are desig nated by an “Std” suffix in the fonts’ menu names. All OpenType fonts can also be installed and used alongside

PostScript Type 1 and TrueType fonts.

The OpenType palette

You use the OpenType palette to specify how you want to apply alternate characters in OpenType fonts. For example, you can specify that you want to use standard ligatures in new or existing text. To display the palette, choose

Window > Type > OpenType.

Keep in mind that OpenType fonts vary greatly in the kinds of features they offer; not all options in the OpenType palette are available in every font. You can view the characters in a font using the Glyphs palette.

A B C D E F G H

OpenType palette

Standard Ligatures

Contextual Alternates

Discretionary Ligatures

Swash

Stylistic Alternates

Titling Alternates

Ordinals

Fractions

Palette menu

Figure type

Character position

Note:

Additional features may be available for Asian OpenType fonts.

You can access additional commands and options in the OpenType palette menu. To use this menu, click the triangle

in the upper right corner of the palette.

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See also

“To set Asian OpenType font attributes” on page 406

“To work with palettes” on page 31

To use superscripts and subscripts in OpenType fonts

Select the characters you want to change to superscript or subscript. If you don’t select any text, the setting applies to new text you create.

Make sure that an OpenType font is selected. One way to determine if a font is an OpenType font is to look in the

Type > Font menu; OpenType fonts display the icon.

In the OpenType palette, choose an option from the Position pop-up menu:

Default Position

Uses the default position for the current font.

Superscript/Superior

Uses raised characters (if available in the current font).

Subscript/Inferior

Uses lowered characters (if available in the current font).

Numerator

Uses characters designed as fraction numerators (if available in the current font).

Denominator

Uses characters designed as fraction denominators (if available in the current font).

See also

“OpenType fonts” on page 391

“The OpenType palette” on page 391

To choose a number style in OpenType fonts

To change the style of existing numbers, select the characters or type objects you want to change. If you don’t select any text, the setting applies to new text you create.

Make sure that an OpenType font is selected.

In the OpenType palette, choose an option from the Figures pop-up menu:

Default Figure

Uses the default style for the current font.

Tabular Lining

Uses full-height figures all of the same width (if available for the current font). This option is appro priate in situations where numbers need to line up from one line to the next, as in tables.

Proportional Lining

Uses full-height figures with varying widths (if available for the current font). This option is recommended for text that uses all caps.

Proportional Oldstyle

Uses varying-height figures with varying widths (if available for the current font). This option is recommended for a classic, sophisticated look in text that doesn’t use all caps.

Tabular Oldstyle

Uses varying-height figures with fixed, equal widths (if available for the current font). This option is recommended when you want the classic appearance of old-style figures, but need them to align in columns, as in an annual report.

See also

“OpenType fonts” on page 391

“The OpenType palette” on page 391

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About ligatures and contextual alternates

Ligatures

are typographic replacement characters for certain letter pairs. Most fonts include ligatures for standard letter pairs such as fi, fl, ff, ffi, and ffl. In addition, some fonts include discretionary ligatures for letter pairs such as ct, st, and ft. Although the characters in ligatures appear to be joined, they are fully editable and do not cause the spell checker to flag a word erroneously.

Contextual alternates

are alternate characters included in some script typefaces to provide better joining behavior.

For example, when using Caflisch Script Pro with contextual alternates enabled, the letter pair “bl” in the word

“bloom” is joined so that it looks more like handwriting.

There are two ways to insert ligatures and contextual alternates in text: using the Glyphs palette and using the

OpenType palette. You can also search for and replace standard letter pairs with ligatures using the Type > Smart

Punctuation command.

See also

“About character sets and alternate glyphs” on page 389

To use ligatures and contextual alternates

Select the characters or type objects to which you want to apply the setting. If you don’t select any text, the setting applies to new text you create.

Make sure that an OpenType font is selected.

In the OpenType palette, do any of the following:

•

Click the Standard Ligatures button to enable or disable ligatures for standard letter pairs (such as fi, fl, ff, ffi, and ffl).

•

Click the Discretionary Ligatures button to enable or disable optional ligatures (if available in the current font).

•

Click the Contextual Alternates button to enable or disable contextual alternates (if available in the current font).

See also

“OpenType fonts” on page 391

“The OpenType palette” on page 391

To 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.

Select the characters or type objects to which you want to apply the setting. If you don’t select any text, the setting applies to new text you create.

Make sure that an OpenType font is selected.

In the OpenType palette, do one of the following:

•

Click the Swash button to enable or disable swash characters (if available in the current font).

•

Click the Stylistic Alternates button to enable or disable stylistic alternates (if available in the current font).

•

Click the Titling Alternates button to enable or disable titling alternates (if available in the current font).

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See also

“OpenType fonts” on page 391

“The OpenType palette” on page 391

To format fractions and ordinals

When using an OpenType font, you can automatically format ordinal numbers with superscript characters (for example, ). Characters such as the superscript “a” and “o” in the Spanish words

segunda

( ) and

segundo

( ) are also typeset properly. You can also convert numbers separated by a slash (such as 1/2) to a shilling fraction

(such as ).

Select the characters or type objects to which you want to apply the setting. If you don’t select any text, the setting applies to new text you create.

Make sure that an OpenType font is selected.

In the OpenType palette, click the Ordinals button to enable or disable ordinals or the Fractions button to enable or disable fractions. These buttons have an effect only if ordinals and fractions are available in the font.

See also

“OpenType fonts” on page 391

“The OpenType palette” on page 391

Scaling and rotating type

To 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. Scaling distorts the type, so it is generally preferable to use a font that is designed as condensed or expanded, if one is available.

Select the characters or type objects you want to change. If you don’t select any text, the scale applies to new text you create.

In the Character palette, set the Vertical Scaling option or the Horizontal Scaling option .

See also

“Character palette” on page 381

To rotate type

•

To rotate the characters within a type object by a specific number of degrees, select the characters or type objects you want to change. (If you don’t select any text, the rotation applies to new text you create.) In the Character palette, set the Orientation option .

•

To change horizontal type to vertical type, and vice versa, select the type object and choose Type > Type

Orientation > Horizontal or Type > Type Orientation > Vertical.

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•

To rotate an entire type object (both the characters and the type bounding box), select the type object and use the bounding box, Free Transform tool, Rotate tool, Rotate command, or Transform palette to perform the rotation.

•

To rotate multiple characters in vertical Asian text, use the tate-chu-yoko option to rotate multiple characters.

See also

“Character palette” on page 381

“Tate-chu-yoko” on page 408

“Rotating objects” on page 273

Formatting paragraphs

About the Paragraph palette

You use the Paragraph palette to change the formatting of columns and paragraphs. To display the palette, choose

Window > Type > Paragraph.

To set options with numeric values in the Paragraph palette, you can use the up and down arrows or edit the value directly in the text box. When you edit a value directly, press Enter or Return to apply a value, Shift+Enter or

Shift+Return to apply a value and then highlight the value just edited, or Tab to apply a value and move to the next text box in the palette.

Paragraph palette

Alignment and Justification

Left Indent

First Line Left Indent

Space Before Paragraph

Hyphenation

Right Indent

Space

After Paragraph

You can access additional commands and options in the Paragraph palette menu. To use this menu, click the triangle in the upper right corner of the palette.

By default, only the most commonly-used options in the Paragraph palette are visible. To show all options, choose

Show Options from the palette menu. Alternatively, click the double triangle on the palette’s tab to cycle through the display sizes.

See also

“To work with palettes” on page 31

“Keys for working with type” on page 531

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To align text

Area type and type on a path can be

aligned

with one or both edges of a type path.

To align existing text, select the type object or insert the cursor in the paragraph you want to change. If you don’t select a type object or insert the cursor in a paragraph, the alignment applies to new text you create.

In the Control palette or Paragraph palette, click an alignment button.

See also

“About the Paragraph palette” on page 395

“Keys for working with type” on page 531

To justify text

Text is said to be

justified

when it is aligned with both edges. You can choose to justify all text in a paragraph excluding the last line, or you can justify text in a paragraph including the last line.

To justify existing text, select the type object or insert the cursor in the paragraph you want to change. If you don’t select a type object or insert the cursor in a paragraph, the justification applies to new text you create.

In the Paragraph palette, click a justification button.

See also

“About the Paragraph palette” on page 395

“Keys for working with type” on page 531

To adjust word and letter spacing in justified text

You can precisely control how Illustrator spaces letters and words and scales characters. Adjusting spacing is especially useful with justified type, although you can also adjust spacing for unjustified type.

Insert the cursor in the paragraph you want to change, or select a type object to change all of its paragraphs.

Choose Justification from the Paragraph palette menu.

Enter values for Word Spacing, Letter Spacing, and Glyph Spacing. The Minimum and Maximum values define a range of acceptable spacing for justified paragraphs only. The Desired value defines the desired spacing for both justified and unjustified paragraphs:

Word Spacing

The space between words that results from pressing the spacebar. Word Spacing values can range from 0% to 1000%; at 100%, no additional space is added between words.

Letter Spacing

The distance between letters, including kerning or tracking values. Letter Spacing values can range from –100% to 500%; at 0%, no space is added between letters, at 100% letter spacing an entire space width is added between letters.

Glyph Spacing

The width of characters (a

glyph

is any font character). Glyph Spacing values can range from 50% to

200%; at 100%, the height of characters is not scaled.

Spacing options are always applied to an entire paragraph. To adjust the spacing in a few characters but not an entire paragraph, use the Tracking option.

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Set the Single Word Justification option to specify how you want to justify single-word paragraphs.

See also

“About the Paragraph palette” on page 395

“Leading” on page 385

To indent text

Indention

is the amount of space between text and the boundary of a type object. Indention affects only the selected paragraph or paragraphs, so you can easily set different indentions for different paragraphs.

To indent existing text, select the type object or insert the cursor in the paragraph you want to change. If you don’t select a type object or insert the cursor in a paragraph, the indention applies to new text you create.

In the Paragraph palette, enter a value for an indention option.

To create a hanging indention, enter a negative value for the First-line Indent option. When working with area type, you can also control indention using tabs or by changing the inset spacing for the type object.

When working with Japanese type, you can use the mojikumi setting instead of the Paragraph palette to specify the indent for the first line. If you specify the indent for the first line in the Paragraph palette, and specify mojikumi settings for the first line indent, the text is placed inside the total of both indents.

See also

“About the Paragraph palette” on page 395

“To change the margin around a text area” on page 366

“To set indents” on page 403

To adjust paragraph spacing

Insert the cursor in the paragraph you want to change, or select a type object to change all of its paragraphs. If you don’t insert the cursor in a paragraph or select a type object, the setting applies to new text you create.

In the Paragraph palette, adjust the values for Space Before( or ) and Space After ( or ).

Note:

If a paragraph begins at the top of a column, no extra space is added before the paragraph. In this case, you can increase the leading of the first line of the paragraph or change the inset spacing for the type object.

See also

“About the Paragraph palette” on page 395

“To set the leading” on page 385

Hanging punctuation

Hanging punctuation

makes the edges of text appear more even by moving punctuation marks outside the paragraph margins.

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Paragraph without hanging punctuation (left) compared to paragraph with hanging punctuation (right)

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. To apply this setting, insert the cursor in the paragraph and select

Roman Hanging Punctuation from the Paragraph palette menu.

Optical Margin Alignment

Controls the alignment of punctuation marks for all paragraphs within a type object.

When Optical Margin Alignment is turned on, roman punctuation marks as well as the edges of letters (such as W and A) hang outside the text margins so that the type looks aligned. To apply this setting, select the type object and choose Type > Optical Margin Alignment.

Burasagari

Controls the alignment of double-byte punctuation marks (available in Chinese, Japanese, and Korean fonts). These punctuation marks are not affected by the Roman Hanging Punctuation option or Optical Margin

Alignment option.

Keep in mind that the paragraph alignment determines the margin from which the punctuation hangs. For leftaligned and right-aligned paragraphs, punctuation hangs off the left and right margin, respectively. For top-aligned and bottom-aligned paragraphs, punctuation hangs off the top and bottom margin, respectively. For centered and justified paragraphs, punctuation hangs off both margins.

Note:

When a punctuation character is followed a quotation mark, both characters hang.

See also

“About the Paragraph palette” on page 395

“To choose a burasagari option” on page 414

Hyphenation and line breaks

To turn automatic hyphenation on or off

❖

At the bottom of the Paragraph palette, select or deselect the Hyphenate option.

If the Hyphenate option isn’t visible, choose Show Options from the Paragraph palette menu.

See also

“About the Paragraph palette” on page 395

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To set automatic hyphenation options

Choose Hyphenation from the Paragraph palette menu.

Enter values for the following options:

Words Longer Than _ Letters

Specifies the minimum number of characters for hyphenated words.

After First _ Letters And Before Last _ Letters

Specifies the minimum number of characters at the beginning or end of a word that can be broken by a hyphen. For example, by specifying 3 for these values,

aromatic

would be hyphenated as

aromatic

instead of

aromatic

aromatic

Hyphen Limit

Specifies the maximum number of consecutive lines on which hyphenation may occur. Zero means unlimited consecutive hyphens are allowed at ends of lines.

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.

To prevent capitalized words from being hyphenated, deselect Hyphenate Capitalized Words. Then click OK.

See also

“About the Paragraph palette” on page 395

To use the hyphenation dictionary

Illustrator uses Proximity language dictionaries to determine when to hyphenate words. These dictionaries let you specify a different language for as little as a single character of text. You can select a default dictionary and customize the dictionary in the Preferences dialog box.

Choose Edit > Preferences > Hyphenation (Windows) or Illustrator > Preferences > Hyphenation (Mac OS).

Do any of the following:

•

To choose a default hyphenation dictionary, select an option for Default Language, and click OK.

•

To add a word to the exceptions list, type the word in the New Entry text box, and click Add.

•

To remove a word from the exceptions list, select the word, and click Delete.

To prevent words from breaking

You can prevent words from breaking at the end of lines—for example, proper names or words that could be misread when hyphenated. You can also keep multiple words or groups of words together—for example, clusters of initials and a last name.

Select the characters you want to prevent from breaking.

Choose No Break from the Character palette menu.

Note:

If you apply the No Break option to too many adjacent characters, the text may wrap in the middle of a word.

See also

“Character palette” on page 381

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Determining line breaks

The appearance of type on the page depends on a complex interaction of processes called

composition

. Using the word spacing, letter spacing, glyph spacing, and hyphenation options you’ve selected, Illustrator evaluates possible line breaks and chooses the one that best supports the specified parameters.

Illustrator offers two composition methods: the Adobe Every-line Composer and the Adobe Single-line Composer.

Both methods evaluate possible breaks and choose the one that best supports the hyphenation and justification options you’ve specified for a given paragraph. The composition method affects only the selected paragraph or paragraphs, so you can easily set different composition methods for different paragraphs.

Every-line Composer

The Every-line Composer considers a network of break points for a range of lines and thus can optimize earlier lines in the paragraph in order to eliminate especially unattractive breaks later on.

The Every-line Composer approaches composition by identifying possible break points, evaluating them, and assigning a weighted penalty based on the following principles:

•

For left-, right-, or center-aligned text, lines that fall closer to the right side are favored and have a lower penalty.

•

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 consid ering a breakpoint:

•

Longer lines are favored over shorter lines.

•

In justified text, compressed or expanded word spacing is preferable to hyphenation.

•

In nonjustified text, hyphenation is preferable to compressed or expanded letter spacing.

•

If spacing must be adjusted, compression is better than expansion.

To choose one of these methods, select it from the Paragraph palette menu. Illustrator applies the method to all paragraphs if you first select the type object or to the current paragraph only if you first insert the cursor in that paragraph.

See also

“About the Paragraph palette” on page 395

Tabs

About the Tabs palette

You use the Tabs palette to set tab stops for a paragraph or type object. To display the palette, choose Window >

Type > Tabs.

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You can position the Tabs palette anywhere in the work area; however, it is usually helpful to align the Tabs palette with a type object. To align the Tabs palette with the selected type object, click the magnet icon . If necessary, you can drag the resize button at the lower right corner of the palette to expand or reduce the ruler.

A B C D E

F G

Tabs palette

Tab alignment buttons

Tab position

Tab leader box

Align On box

Palette menu

Tab ruler

Snap palette above frame

You can access additional commands and options in the Tabs palette menu. To use this menu, click the triangle in the upper right corner of the palette.

By default, you can position tab stops anywhere along the tab ruler. To snap tab stops to the ruler units, choose Snap

To Unit from the palette menu or hold down Shift as you drag a tab stop. 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).

See also

“To work with palettes” on page 31

“To change the unit of measurement” on page 42

To set tabs

Tab stops apply to an entire paragraph. When you set the first tab, Illustrator deletes all default tab stops to the left of that stop. As you set more tab stops, Illustrator deletes all default tabs between the tabs you set.

Insert the cursor in a paragraph, or select a type object to set tab stops for all paragraphs in the object.

In the Tabs palette, click a tab-alignment button to specify how text aligns relative to the tab’s position:

Left-Justified Tab

to align horizontal text to the left, keeping the right margin ragged.

Center-Justified Tab

to center text on the tab mark.

Right-Justified Tab

to align horizontal text to the right, keeping the left margin ragged.

Bottom-Justified Tab

to align vertical text to the bottom margin, keeping the top margin ragged.

Top-Justified Tab

to align vertical text to the top margin, keeping the bottom margin ragged.

Decimal-Justified Tab

to place text in alignment with a specified character, such as a period or a dollar sign. This option is useful for creating columns of numbers.

You can change the alignment of any tab by simply selecting it and clicking one of these buttons.

Do one of the following:

•

Click a location on the tab ruler to position a new tab stop.

•

Type a position in the X box (for horizontal text) or Y box (for vertical text), and press Enter or Return. If the X or Y value is selected, press the Up Arrow or Down Arrow key to increase or decrease the tab value by 1 point, respectively.

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Note:

When you use the tab ruler, you cannot set tab stops in increments smaller than 1. However, if you specify a position in the X or Y box, you can set stops at intervals as small as 0.01 point.

Repeat steps 2 and 3 to add additional tab stops.

See also

“About the Tabs palette” on page 400

To repeat tabs

The Repeat Tab command creates multiple tabs based on the distance between the tab and the left indent or the previous tab stop.

In the Tabs palette, select a tab stop on the ruler.

Choose Repeat Tab from the palette menu.

Repeated tabs

See also

“About the Tabs palette” on page 400

To move tabs

In the Tabs palette, select a tab stop on the ruler.

Do one of the following:

•

Type a new location in the X box (for horizontal text) or Y box (for vertical text), and press Enter or Return.

•

Drag the tab to a new location.

•

To move all tab stops simultaneously, Ctrl-drag (Windows) or Command-drag (Mac OS) a tab.

As you move a tab stop, a visual guide appears in the selected text.

See also

“About the Tabs palette” on page 400

To remove tabs

❖

Do one of the following:

•

Drag the tab off the tab ruler.

•

Select the tab, and choose Delete Tab from the palette menu.

•

To return to the default tab stops, choose Clear All from the palette menu.

See also

“About the Tabs palette” on page 400

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To specify characters for decimal tabs

You use decimal tabs to align text with a character you specify, such as a period or a dollar sign.

In the Tabs palette, create or select a decimal tab on the tab ruler.

In the Align On box, type the character to which you want to align. You can type or paste any character. Make sure that the paragraphs you’re aligning contain that character.

Text aligned using a decimal tab

See also

“About the Tabs palette” on page 400

To 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.

In the Tabs palette, select a tab stop on the ruler.

Type a pattern of as many as eight characters in the Leader box, and then press Enter or Return. Illustrator repeats the characters you entered across the width of the tab.

To change the font or other formatting of the tab leader, select the tab character in the text frame, and use the

Character palette or Type menu to apply formatting.

See also

“About the Tabs palette” on page 400

To set indents

Use the indent markers in the Tabs palette to adjust the indention of a paragraph. The top marker controls the indention of the first line of text in a paragraph; the bottom marker controls the indention for the remaining lines of text in the paragraph.

❖

Do one of the following:

•

Drag the top marker to indent the first line of text. Drag the bottom marker to move both markers and indent the entire paragraph.

•

Select the top marker and type a value for X to indent the first line of text. Select the bottom marker and type a value for X to move both markers and indent the entire paragraph.

See also

“About the Tabs palette” on page 400

“To indent text” on page 397

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Character and paragraph styles

About character and paragraph styles

character style

is a collection of character-formatting attributes that you can apply to a selected range of text. A

paragraph style

includes both character- and paragraph-formatting attributes, and can be applied to a selected paragraph or range of paragraphs. Using character and paragraph styles saves time and ensures consistent formatting.

You use the Character Styles and Paragraph Styles palettes to create, apply, and manage character and paragraph styles. To display the palettes, choose Window > Type > Character Styles or Window > Type > Paragraph Styles. To apply a style, simply select text and click a style name in one of the palettes. If you don’t select any text, the style applies to new text you create.

C D

Paragraph Styles palette

Style name

Style with additional formatting (overrides)

New Style button

Delete icon

Palette menu

When you select text or insert the cursor in text, the active styles are highlighted in the Character Styles and

Paragraph Styles palettes. By default, every character in a document is assigned the Normal Character Style and every paragraph is assigned the Normal Paragraph Style. These default styles are the building blocks for all other styles you create.

A plus sign next to a style name indicates that there are

overrides

to the style. An override is any formatting that doesn’t match the attributes defined by the style. Any time you change settings in the Character and OpenType palette, you create an override to the current character style; likewise, when you change settings in the Paragraph palette, you create an override to the current paragraph style.

See also

“To work with palettes” on page 31

To create character or paragraph styles

If you want to base the new style on the formatting of existing text, select the text.

In the Character Styles palette or the Paragraph Styles palette, do one of the following:

•

To create a new style with the default name, click the Create New Style button.

•

To create a new style with a custom name, choose New Style in the palette 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.

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To edit character or paragraph styles

You can change the definition of the default character and paragraph styles, as well as any new styles you create.

When you change the definition of a style, all of the text formatted with that style changes to match the new style definition.

In the Character Styles palette or the Paragraph Styles palette, do one of the following:

•

Select the style in the palette, and choose Character Style Options from the Character Styles palette menu or

Paragraph Style Options from the Paragraph Styles palette menu.

•

Double-click the style name.

Note:

Double-clicking applies the style to any selected text or, if no text is selected, sets the style for any new text you type.

If you don’t want to apply the style, hold down Shift+Ctrl (Windows) or Shift+Command (Mac OS) when you doubleclick the style name.

On the left side of the dialog box, select a category of formatting options and set the options you want. You can switch to a different group of formatting options by selecting a different category.

If you need more information about any of the formatting options, search for the option name in Help.

When you finish setting options, click OK.

To remove style overrides

A plus sign next to the style name in the Character Styles palette or the Paragraph Styles palette indicates that there are overrides to the style. An override is any formatting that doesn’t match the attributes defined by the style. There are several ways to remove style overrides:

•

To clear overrides and return text to the appearance defined by the style, reapply the same style or choose Clear

Overrides from the palette menu.

•

To clear overrides when applying a different style, Alt-click (Windows) or Option-click (Mac OS) the style name.

•

To redefine the style and maintain the current appearance of the text, select at least one character of the text and choose the Redefine Style command from the palette menu.

If you use styles to maintain consistent formatting, you should probably avoid overrides. If you’re formatting quick, one-time-only text, these overrides pose no problem.

To delete character or paragraph styles

When you delete styles, the appearance of paragraphs tagged with the style doesn’t change, but their formatting is no longer associated with a style.

Select the style name or names in the Character Styles palette or the Paragraph Styles palette.

Do one of the following:

•

Choose Delete Character Style or Delete Paragraph Style from the palette menu.

•

Click the Delete icon at the bottom of the palette.

•

Drag the style to the Delete icon at the bottom of the palette.

To delete all unused styles, choose Select All Unused from the palette menu, and then click the Delete icon.

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To load character and paragraph styles from another Illustrator document

In the Character Styles palette or the Paragraph Styles palette, do one of the following:

•

Choose Load Character Styles or Load Paragraph Styles from the palette menu.

•

Choose Load All Styles from the palette menu to load both character and paragraph styles.

Double-click the Illustrator document containing the styles you want to import.

Formatting Asian characters

To display Asian type options

By default, Illustrator hides Asian type options in the Character palette, Paragraph palette, OpenType palette, and

Type menu.

Choose Edit > Preferences > Type (Windows) or Illustrator > Preferences > Type (Mac OS).

Select Show Asian Options, and click OK.

You can also control how font names are displayed (in English or in the native language) by selecting or deselecting

Show Font Names in English.

Note:

Your operating system must support the languages in which you wish to work. Consult your system software manufacturer for more information.

See also

“Unicode” on page 377

To set Asian OpenType font attributes

Asian OpenType fonts may include a number of features that aren’t available in current PostScript and TrueType fonts. In addition, Asian OpenType fonts provide alternate glyphs for many characters.

Select the characters or type objects to which you want to apply the setting. If you don’t select any text, the setting applies to new text you create.

Make sure that an OpenType font is selected.

Look in the Type > Font menu; OpenType fonts display the icon.

In the OpenType palette, set any of the following options:

Proportional Metrics

Kerning is according to the proportional metrics of the font.

H or V Style

Switches hiragana fonts, which have different glyphs for horizontal and vertical such as contracted sounds, double consonants, and phonetic indexes.

Roman Italics

Changes half-width alphanumerics to italics.

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See also

“About character sets and alternate glyphs” on page 389

“OpenType fonts” on page 391

“The OpenType palette” on page 391

To replace Asian characters with a different glyph form

Select the characters you want to replace.

Choose an option from the Glyphs palette 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 78 Forms

Replaces the selected characters with JIS 78 forms.

JIS 83 Forms

Replaces the selected characters with JIS 83 forms.

Monospaced Half-Width Forms

Changes the glyphs of the selected Latin characters to monospace hankaku (half width).

Monospaced Third-Width Forms

Changes the glyphs of the selected Latin characters to monospace third width.

Monospaced Quarter-Width Forms

Changes the glyphs of the selected Latin characters to monospace quarter width.

To revert an alternate glyph to its default form, select it and choose Revert To Default Forms from the Glyphs palette menu. You cannot use this method to revert alternate glyphs that were applied using a character style.

See also

“About character sets and alternate glyphs” on page 389

“About the Glyphs palette” on page 389

“To display Asian type options” on page 406

Working with aki

Aki

is the white space before or after a character. Usually, fixed spacing is applied between the characters based on the mojikumi setting for a paragraph. You can change the mojikumi setting for special characters using the Insert

Aki options in the Character palette. For example, to add a space before an opening parenthesis, use the Insert Aki

(Left) option.

Parenthesis without aki (left) compared to parenthesis with aki (right)

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Select with the Type tool any characters you want to adjust, and do any of the following in the Character palette:

•

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 palette. For example, if you specify 2bu, half a full-width space is added, and if you specify 4bu, a quarter of a full-width space is added.

•

To compress the aki between characters, specify a percentage for Tsume . The higher the percentage, the narrower the aki between characters.

If you don’t see the Insert Aki or Tsume options, select Show Asian Options in the Type preferences.

Character without tsume (left) compared to character with tsume (right)

See also

“To display Asian type options” on page 406

“To select a mojikumi set for a paragraph” on page 411

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.

Numerals without tate-chu-yoko (left) compared to numerals rotated with tate-chu-yoko (right)

You can apply tate-chu-yoko to selected characters by choosing Tate-chu-yoko from the Character palette menu. (To cancel, choose Tate-chu-yoko again.)

Select Tate-chu-yoko Settings from the Character palette menu to set the following options:

Up/Down

Specifies a positive value to move the text up and a negative value to move it down.

Left/Right

Specifies a positive value to move the text to the right and a negative value to move it to the left.

Use tsume or tracking in the Character palette to adjust the character spacing for Tate-chu-yoko.

Note:

If the Tate-chu-yoko option isn’t showing, you need to select Show Asian Options in the Type preferences.

See also

“To adjust tracking” on page 387

“To display Asian type options” on page 406

To rotate half-width characters in vertical text

The direction of half-width characters, such as roman text or numbers, changes in vertical text.

❖

Choose Standard Vertical Roman Alignment from the Paragraph palette menu.

When you set this option to on, half-width characters are rotated individually.

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Roman text before and after rotation

See also

“To display Asian type options” on page 406

“To rotate type” on page 394

Warichu

The Warichu option in the Character palette decreases the type size of selected text to a percentage of the original and stacks the type—horizontally or vertically, according to the orientation—on multiple lines.

Vertical and horizontal text with warichu

You can choose Warichu from the Character palette menu, while you have text selected, to turn Warichu on or off, and you can select Warichu Settings from the Character palette menu to set the following options:

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.

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Alignment

Specifies the alignment of warichu characters. For example, in a vertical frame grid, selecting Top will align the beginning of the warichu characters at the top of the frame. The alignment proxy shows how the warichu text appears relative to the parent text.

Line Breaking Options

Specifies the minimum number of characters required before and after the line breaks to start a new line.

See also

“To display Asian type options” on page 406

Aligning different character sizes in the same line

When a line of text contains different sizes of characters, you can specify how to align text to the largest characters in the line: to the top, center, or bottom of the embox (right, center, and left for vertical frames), to the roman baseline, or to the top or bottom of the ICF box (right or left for vertical frames). The

ICF

is the space where characters can be placed.

Character alignment options

Small characters aligned to the bottom

Small characters aligned to the middle

Small characters aligned to the top

See also

“To display Asian type options” on page 406

To align Asian characters

❖

In the Character palette menu, choose an option from the Character Alignment submenu:

Roman Baseline

to align the small characters in a line to the large character.

Embox Top/Right, Embox Center, or Embox Bottom/Left

to align the small characters in a line to the specified position of the large character’s embox. In vertical text frames, Embox Top/Right aligns the text to the right of the embox, and Embox Bottom/Left aligns the text to the left of the embox.

ICF Top/Right and ICF Bottom/Left

to align the small characters in a line to the ICF specified by the large characters.

In vertical text frames, ICF Top/Right aligns the text to the right of the ICF, and ICF Bottom/Left aligns the text to the left of the ICF.

See also

“To display Asian type options” on page 406

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Mojikumi

About mojikumi

Mojikumi specifies Japanese text composition for spacing of Japanese characters, roman characters, punctuation, special characters, line start, line end, and numbers. You can also specify paragraph indents.

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. For example, you might create an interview format in which you want to have an em dash before a question, and answers enclosed in paren theses.

To select a mojikumi set for a paragraph

❖

In the Paragraph palette, choose an option from the Mojikumi Set pop-up menu:

None

to turn off the use of mojikumi.

YakumonoHankaku

to use half-width spacing for punctuation.

GyoumatsuYakumonoHankaku

to use full-width spacing for most characters except the last character in the line.

YakumonoHankaku (left) and GyoumatsuYakumonoHankaku (right)

GyoumatsuYakumonoZenkaku

to use full-width spacing for most characters and the last character in the line.

YakumonoZenkaku

to use full-width spacing for punctuation.

GyoumatsuYakumonoZenkaku (left) and YakumonoZenkaku (right)

See also

“To display Asian type options” on page 406

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To create a new mojikumi set

Do one of the following:

•

Choose Type > Mojikumi Settings.

•

Choose Mojikumi Settings from the Mojikumi Set pop-up menu in the Paragraph palette.

Click New in the Mojikumi Settings dialog box.

Enter a name for the new mojikumi set, specify the existing set on which the new set will be based, and click OK.

Choose Use Percentage (%) or Bu from the Units pop-up menu.

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.

Click Save or OK to save the settings. Click Cancel if you don’t want to save the settings.

When you compose Japanese text with a lot of half-width spaces or roman parentheses, problems relating to text composition increase. We recommend that you avoid using roman parentheses, and use full-width parentheses for

Japanese composition. Only use roman parentheses when using relatively long English sentences in Japanese text, or when a more serious problem results if you don’t use roman parentheses.

See also

“To display Asian type options” on page 406

Working with mojikumi sets

In the Mojikumi Settings dialog box, do any of the following:

•

To export a set, click Export, select a location for the file, type a file name, and click Save.

Illustrator saves the file in MJK format.

•

To import a set, click Import, select an MJK file, and click Open.

•

To delete a set, choose it from the Mojikumi pop-up menu and then click Delete.

All the text to which the mojikumi set was applied will return to the default settings.

Note:

You cannot delete predefined mojikumi sets.

See also

“To display Asian type options” on page 406

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Kinsoku

About kinsoku

Kinsoku

specifies line breaks for Japanese text. Characters that cannot be placed at the beginning or end of a line are known as kinsoku characters. Illustrator has hard kinsoku sets and soft kinsoku sets. Soft kinsoku sets omit long vowel symbols and small hiragana characters. You can use these existing sets, or add or delete kinsoku characters to create new sets.

You can also define hanging characters for hanging Japanese punctuation and define characters that cannot be split when a line is exceeded.

You can specify whether to push in or push out text so that kinsoku characters are not placed inappropriately.

To select kinsoku settings for a paragraph

❖

In the Paragraph palette, choose an option from the Kinsoku Set pop-up menu:

None

to turn off the use of kinsoku shori.

Soft or Hard

to prevent selected characters from beginning or ending a line.

See also

“To display Asian type options” on page 406

To create a new kinsoku set

Do one of the following:

•

Choose Type > Kinsoku Shori Settings.

•

Choose Kinsoku Settings from the Kinsoku Set pop-up menu in the Paragraph palette.

In the Kinsoku Shori Settings dialog box, click New Set.

Enter a name for the kinsoku set, specify the existing set on which the new set will be based, and click OK.

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.

To delete a character in a field, select the character and click Delete. Alternatively, press Backspace (Windows) or

Delete (Mac OS).

To check the character code currently selected, select Shift JIS, JIS, Kuten, or Unicode, and display the code system.

Click Save or OK to save the settings. Click Cancel if you don’t want to save the settings.

See also

“To display Asian type options” on page 406

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To work with kinsoku sets

❖

In the Kinsoku Shori Settings dialog box, do any of the following:

•

To export a kinsoku set, click Export. Select a location for the file, enter a file name, and click Save.

Illustrator saves the file in ATK format.

•

To import a kinsoku set, click Import. Select a KSK file, and click Open.

•

To delete a kinsoku set, choose the kinsoku set you want to delete from the pop-up menu. Then click Delete Set.

Note:

You cannot delete predefined kinsoku settings.

See also

“To display Asian type options” on page 406

To set bunri-kinshi on and off

When Bunri-kinshi is on, the characters specified in the Bunri-Kinshi section of the Kinsoku Shori Settings dialog box will not be split.

❖

In the Paragraph palette, choose Bunri-kinshi from the Palette menu.

Note:

This option is only available when kinsoku shori is on.

See also

“To display Asian type options” on page 406

To specify whether to push in or push out kinsoku text

In the Paragraph palette, choose Kinsoku Shori Type from the palette menu.

Choose an option from the submenu: Push In First, Push Out First, or Push Out Only. Kinsoku shori must be on for the option to take affect.

See also

“To display Asian type options” on page 406

Burasagari, leading, and kurikaeshi moji shori

To choose a burasagari option

Burasagari

lets single-byte periods, double-byte periods, single-byte commas, and double-byte commas fall outside the paragraph bounding box.

In the Paragraph palette, choose Burasagari from the palette menu.

Choose an option from the submenu:

None

To turn off hanging punctuation.

Regular

To turn on hanging punctuation without forcing ragged lines to the bounding box edge.

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Forced

To force punctuation outside the bounding box by spreading lines that end within the bounding box and end with one of the hanging characters.

Note:

The Burasagari options are not available when Kinsoku Shori is set to None.

See also

“To display Asian type options” on page 406

To specify how leading is measured in Asian type

Select the paragraphs you want to adjust.

Choose a leading option from the Paragraph palette menu.

Top-to-top Leading

Measures the spacing between lines of type from the top of one line to the top of the next line.

When you use top-to-top leading, the first line of type in a paragraph is aligned flush with the top of the bounding box.

Bottom-to-bottom Leading

F or horizontal type, measures the space between lines of type from the type baseline.

When you use bottom-to-bottom leading, space appears between the first line of type and the bounding box. A check mark indicates which option is selected.

Note:

Bottom-to-bottom leading does not affect the amount of leading between lines, only how the leading is measured.

See also

“To display Asian type options” on page 406

Kurikaeshi moji shori

You can control how repeated characters in Japanese text are handled using the Kurikaeshi Moji Shori option in the

Paragraph palette. 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. When this option is selected, both characters are displayed if they are separated by a line break.

Text without Kurikaeshi Moji Shori option (left) compared to text with Kurikaeshi Moji Shori option (right)

To use kurikaeshi moji shori

Using any type tool, select a paragraph of text to which you want to apply repeated character processing. If no text exists, the setting applies to new text typed.

In the Paragraph palette, select Kurikaeshi Moji Shori from the palette menu.

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See also

“To display Asian type options” on page 406

Creating composite fonts

To create a composite font

You can mix characters from Japanese and roman fonts and use them as one composite font. Composite fonts are displayed at the beginning of the font list.

Important:

Composite fonts must be based on Japanese fonts. For example, you cannot create or use composite fonts that include Chinese or Korean fonts.

Choose Type > Composite Fonts. If you don’t see this command, select Show Asian Options in the Type prefer ences.

Click New, enter the name for the composite font, and click OK.

If you’ve previously saved composite fonts, you can also chose a composite font on which to base the new composite font.

Select a category of characters. (See “Categories of characters in composite fonts” on page 417.)

Categories of characters

Kanji

Kana

Punctuation

Symbols

Roman

Numerals

Choose an option from the Units pop-up menu to specify the unit used for font attributes: % or Q.

Set font attributes for the selected category of characters. Some attributes are not available for certain categories.

(See “Font attributes for composite fonts” on page 417.)

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A B C D E F G

Font attributes

Font Family

Font Style

Size

Baseline

Vertical Scale

Horizontal Scale

Scale at Center

To view a sample of the composite font, click Show Sample.

You can change the sample in the following ways:

•

Click the buttons on the right side of the sample to show or hide lines indicating the ICF Box

Baseline , Cap Height , Max Ascent/Descent , Max Ascender , and x-height .

•

Choose a magnification level from the Zoom pop-up menu.

Click Save to save the settings for the composite font, and then click OK.

, Embox ,

See also

“To display Asian type options” on page 406

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.

Font attributes for composite fonts

Font Family And Style

The font used for the characters.

Size

The size of the characters in relation to the size of kanji characters. The size may differ for different fonts, even when the same font size is used.

Baseline

The position of the baseline in relation to the baseline for kanji characters.

Vertical And Horizontal Scale

The degree to which characters are scaled. You can scale kana characters, half-width katakana characters, Gaiji characters, half-width roman characters, and numbers.

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Scale At Center

Scaling for kana characters. When this option is selected, characters are scaled from the center.

When this option is deselected, characters are scaled from the roman baseline.

To specify the same transformation scale for all characters, specify a value for Size and fix the value for scale at 100%.

To have a different character transformation scale for horizontal and vertical, fix Size at 100%, and set Scale.

To customize characters in a composite font

Choose Type > Composite Fonts. If you don’t see this command, select Show Asian Options in the Type prefer ences.

Click Custom in the Composite Font dialog box.

Do one of the following:

•

If you’ve previously saved custom character sets, select the set you want to edit.

•

To create a new custom set, click New, enter a name for the character set, and click OK. If there are existing custom sets, you can also choose a set on which to base the new set.

Do any of the following:

•

To add a character directly, choose Direct Entry from the Character pop-up menu, enter the characters in the text box, and click Add.

•

To add a character using a code, choose an encoding type from the Character pop-up menu, enter the code or hyphenated code range (8169-8174), and click Add.

Note:

You cannot add 32-bit characters to a custom set.

•

To delete a character, select it in the list box, and click Delete.

When you’ve finished customizing the character set, click Save, and then click OK.

Note:

When there are several custom characters in one composite font, the bottom set takes precedence over all the above sets.

To delete a composite font

Choose Type > Composite Fonts. If you don’t see this command, select Show Asian Options in the Type prefer ences.

Select the composite font from the Composite Font dialog box.

Click Delete Font, and then click Yes.

To export a composite font

Composite fonts exported from Illustrator can be imported into the Japanese version of Adobe InDesign 2 or later.

Choose Type > Composite Fonts. If you don’t see this command, select Show Asian Options in the Type prefer ences.

Click Export in the Composite Font dialog box.

Select a location for the file, enter a file name, and click Save.

Chapter 15: Creating special effects

Appearance attributes

About appearance attributes

Appearance attributes are properties that affect the look of an object without altering its underlying structure.

Appearance attributes include fills, strokes, transparency, and effects. If you apply an appearance attribute to an object and later edit or remove that attribute, it does not change the underlying object or any other attributes applied to the object.

You can set appearance attributes at any level of the layer hierarchy. For example, if you apply a drop shadow effect to a layer, all objects in the layer take on the drop shadow. However, if you move an object out of the layer, that object will no longer have a drop-shadow because the effect belongs to the layer, not to each object within the layer.

The Appearance palette is the gateway to working with appearance attributes. Because you can apply appearance attributes to layers, groups, and objects—and often to fills and strokes too—the hierarchy of attributes in your artwork can become very complex. For example, if you apply one effect to an entire layer and another effect to an object in the layer, it may be difficult to determine which effect is causing the artwork to change. The Appearance palette shows you the fills, strokes, graphic styles, and effects that have been applied to an object, group, or layer.

Using the Appearance palette

You use the Appearance palette to view and adjust the appearance attributes for an object, group, or layer. Fills and strokes are listed in stacking order; top to bottom in the palette correlates to front to back in the artwork. Effects are listed from top to bottom in the order in which they are applied to the artwork. To display the palette, choose

Window > Appearance.

E F G H

Appearance palette listing attributes of a grouped object

Object with stroke, fill, and drop shadow effect

Layer with transparency

Group with effect

Stroke with roughen effect

New Art

(Maintains/Has Basic) Appearance button

Clear Appearance button

Reduce To Basic Appearance button

Duplicate Selected Item button

When an item in the Appearance palette contains additional attributes, a triangle appears to the left of the item’s name. You can click the triangle to show or hide the contents. When you select items that contain other items, such as a layer or group, the Appearance palette displays a Contents item that you can double-click to reveal the contained items. When you select a text object, the palette displays a Characters item that you can double-click to list the character attributes.

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To show or hide thumbnails, choose Show Thumbnail or Hide Thumbnail from the Appearance palette menu.

To specify how appearance attributes are applied to new objects

You can specify whether you want new objects to inherit appearance attributes or have only basic attributes.

•

To apply only a single fill and stroke to new objects, click the New Art Maintains Appearance button

Appearance palette to change it to the New Art Has Basic Appearance button in the

, or choose New Art Has Basic

Appearance from the palette menu.

•

To apply all of the current appearance attributes to new objects, click the New Art Has Basic Appearance button in the Appearance palette to change it to New Art Maintains Appearance button , or deselect

New Art Has Basic Appearance from the palette menu.

About targeting

Before you can set an appearance attribute or apply a style or an effect to a layer, group, or object, you must

target

the item in the Layers palette. Selecting an object or group using any selection method also targets the object or group in the Layers palette, but layers can only be targeted using the palette.

A B

Shaded target icons in the Layers palette indicate which items contain appearance attributes.

Targeting and appearance column

Selection column

Group with appearance attributes

Layer with appearance attributes

Object with appearance attributes

The target icon indicates whether an item in the layer hierarchy has any appearance attributes and whether it is targeted:

•

indicates the item is not targeted and has no appearance attributes beyond a single fill and a single stroke.

indicates the item is not targeted but has appearance attributes.

indicates the item is targeted but has no appearance attributes beyond a single fill and a single stroke.

indicates the item is targeted and has appearance attributes.

To target an item in the Layers palette, click the item’s target icon. A double ring or indicates that the item is targeted. Shift-click to target additional items.

Note:

When an object or group is selected by any method, the item is also targeted in the Layers palette. In contrast, a layer can be targeted only by clicking its target icon in the Layers palette.

To duplicate an appearance attribute

❖

Select an attribute in the Appearance palette, and do one of the following:

•

Click the Duplicate Selected Item button in the palette, or choose Duplicate Item from the palette menu.

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•

Drag the appearance attribute onto the Duplicate Selected Item button in the palette.

To change the stacking order of appearance attributes

❖

Drag an appearance attribute up or down in the Appearance palette. (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.

Pointillize effect applied to stroke (top) compared to same effect moved to fill (bottom)

To remove appearance attributes

Select the object or group (or target a layer in the Layers palette).

Do one of the following:

•

To remove a specific attribute, select the attribute in the Appearance palette, and click the Delete icon . Alter natively, select Remove Item from the palette menu, or drag the attribute to the Delete icon.

•

To remove all appearance attributes except a single fill and stroke, click the Reduce To Basic Appearance button in the Appearance palette or choose Reduce To Basic Appearance from the palette menu. Alterna tively, drag the target icon for an item in the Layers palette onto the Delete icon in the Layers palette.

•

To remove all appearance attributes, including any fill or stroke, click the Clear Appearance button in the

Appearance palette or choose Clear Appearance from the palette menu.

Copying appearance attributes between objects

To copy appearance attributes between objects

Select the object or group (or target the layer in the Layers palette) whose appearance you want to copy.

Do one of the following:

•

Drag the thumbnail at the top of the Appearance palette onto an object in the document window. If a thumbnail isn’t showing, choose Show Thumbnail from the palette menu.

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•

Alt-drag (Windows) or Option-drag (Mac OS) the target icon in the Layers palette onto the item to which you want to copy appearance attributes.

•

To move appearance attributes instead of copying them, drag the target icon in the Layers palette from any item that has the desired attributes onto the item to which you want to apply it.

See also

“About targeting” on page 420

“About the Layers palette” on page 278

“Using the Appearance palette” on page 419

To copy appearance attributes using the Eyedropper tool

You can use the Eyedropper tool to copy appearance attributes from one object to another, including character, paragraph, fill, and stroke attributes between type objects. By default, the Eyedropper tool affects all attributes of a selection. To customize the attributes affected by this tool, use the Eyedropper dialog box.

Select the object, type object, or characters whose attributes you want to change.

Select the Eyedropper tool .

Move the Eyedropper tool onto the object whose attributes you want to sample. (When you’re correctly positioned over type, the pointer displays a small T.)

Do one of the following:

•

Click the Eyedropper tool to sample all appearance attributes and apply them to the selected object.

•

Shift-click to sample only the color from a portion of a gradient, pattern, mesh object, or placed image and apply the color to the selected fill or stroke.

•

Hold down the Shift key and then the Alt (Windows) or Option (Mac OS) key while clicking to add the appearance attributes of an object to the selected object’s appearance attributes. Alternatively, click first, and then hold down Shift and then Alt or Option.

Note:

You can also click an unselected object to sample its attributes and Alt-click (Windows) or Option-click (Mac OS) an unselected object to which you want to apply the attributes.

To copy attributes from the desktop using the Eyedropper tool

Select the object whose attributes you want to change.

Select the Eyedropper tool.

Click anywhere on the document and continue to hold down the mouse button.

Without releasing the mouse button, move the pointer over the object on your computer’s desktop whose attributes you want to copy. When directly over the object, release the mouse button.

Important:

The Eyedropper tool only samples the RGB color from the screen when sampling anywhere outside the current document. The Eyedropper tool indicates it is sampling RGB color from the screen by displaying a black-colored square to the right of the tool.

To change the attributes affected by the Eyedropper tool

Double-click the Eyedropper tool.

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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.

Choose the sample size area from the Raster Sample Size menu.

Click OK.

Working with effects and filters

About effects and filters

Many commands for changing the look of objects are available in both the Filter and Effect menus. For example, all of the commands in the Filter > Artistic submenu are also listed in the Effect > Artistic submenu. However, filters and effects have different consequences, so it’s important to understand the difference in their use.

Effects are

live

, which means you can apply an effect command to an object and then continue to modify the effect’s options or remove the effect at any time using the Appearance palette. Once you apply an effect to an object, the

Appearance palette lists the effect and enables you to edit the effect, move it, duplicate it, delete it, or save it as part of a graphic style.

Filters change the underlying object, and the changes can’t be modified or removed after the filter is applied. But one advantage to reshaping an object with a filter command is that you have immediate access to the new or modified anchor points created by the filter. (An effect must be

expanded

before you have access to the new points.)

Ellipse using Roughen effect (left maintains original anchor points and path segments, while the Roughen filter (right) creates new anchor points along the modified path.

See also

“Effects and filters quick reference” on page 426

To apply an effect or filter

Select the object or group (or target a layer in the Layers palette).

If you want to apply an effect to a specific attribute of an object, such as its fill or stroke, select the object and then select the attribute in the Appearance palette.

Choose a command from the Effect or Filter menu.

If a dialog box appears, set options, and then click OK.

To apply the filter or effect and settings that were used last, choose Filter > Apply [Filter Name] or Effect > Apply

[Effect Name]. To apply the last used filter or effect and set its options, choose Filter > [Filter Name] or Effect >

[Effect Name].

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See also

“About targeting” on page 420

Unavailable effect and filter commands

Effect and filter commands are dimmed when they aren’t available for the targeted item. For example, the command may work on vector objects, but not on bitmap images.

Following are some guidelines to help you determine when effects and filters are available.

All of the commands in the top section of the Effect menu (3D, Convert To Shape, Distort & Transform, Path,

Pathfinder, Rasterize, Stylize, SVG Filters, and Warp) can be applied to vector objects. These same effects won’t affect a bitmap object unless you apply the effect to a fill or stroke added to the object in the Appearance palette; the excep tions to this are the effects in the 3D, SVG Filters, and Warp submenus, and the Transform, Drop Shadow, Feather,

Inner Glow, and Outer Glow effects, which will affect a bitmap object. All of the commands in the bottom section of the Effect menu (starting with Artistic) are raster effects and can be applied to either bitmap or vector objects. When these raster effects are applied to an object, they use the document’s raster effects settings.

Important:

The effects and filters in the Artistic, Brush Strokes, Distort, Sketch, Stylize, Texture, and Video submenus aren’t available with documents in CMYK color mode. If an RGB document that uses any of these commands is converted to CMYK, the effects remain listed in the object’s Appearance palette but don’t affect the object’s appearance.

All of the commands in the top section of the Filter menu (Colors, Create, Distort, and Stylize) can be applied to vector objects (with the exception of Object Mosaic), but only some commands in the Create and Colors submenus can also be applied to bitmap objects. All of the commands in the bottom section of the Filter menu are raster filters and can be applied to bitmap objects, but not to vector objects or 1-bit (black-and-white) bitmap objects.

About raster effects

Raster effects

are effects that generate pixels, rather than vector data. Raster effects include SVG Filters, all of the effects in the bottom section of the Effect menu, and the Drop Shadow, Inner Glow, Outer Glow, and Feather commands in the Effect > Stylize submenu.

Whenever you apply a raster effect, Illustrator uses the document’s raster effects settings to determine the resolution of the resulting image. These settings have a large impact on the resulting artwork; therefore, it’s important to check the document raster effects settings before you start working with filters and effects.

You set rasterization options for a document by choosing Effect > Document Raster Effects Settings. (See “Raster ization options” on page 424.)

If an effect looks good on-screen, but loses detail or appears jagged when printed, you need to increase the document raster effects resolution.

Rasterization options

You can set the following options for all raster effects in a document or when you rasterize a vector object.

Color Model

Determines the color model that is used during rasterization. You can generate an RGB or CMYK color image (depending on the color mode of your document), a grayscale image, or a 1-bit image (which may be black and white or black and transparent, depending on the background option selected).

Resolution

Determines the number of pixels per inch (ppi) in the rasterized image. When rasterizing a vector object, select Use Document Raster Effects Resolution to use global resolution settings.

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Background

Determines how transparent areas of the vector graphic are converted to pixels. Select White to fill transparent areas with white pixels, or select Transparent to make the background transparent. If you select Trans parent, you create an alpha channel (for all images except 1-bit images). The alpha channel is retained if the artwork is exported into Photoshop. (This option anti-aliases better than the Create Clipping Mask option.)

Anti-alias

Applies anti-aliasing to reduce the appearance of jagged edges in the rasterized image. When setting rasterization options for a document, deselect this option to maintain the crispness of fine lines and small text.

When rasterizing a vector object, select None to apply no anti-aliasing and maintain the hard edges of line art when it is rasterized. Select Art Optimized to apply anti-aliasing that is best suited to artwork without type. Select Type

Optimized to apply anti-aliasing that is best suited to type.

Create Clipping Mask

Creates a mask that makes the background of the rasterized image appear transparent. You do not need to create a clipping mask if you selected Transparent for Background.

Add Around Object

Adds the specified number of pixels around the rasterized image.

See also

“About raster effects” on page 424

“To rasterize a vector object” on page 437

“About image resolution” on page 329

Applying filters and effects to bitmap images

Filters and effects let you apply a special look to bitmap images as well as vector objects. For example, you can apply an impressionistic or mosaic look, apply lighting changes, distort images, and produce many other interesting visual effects.

Consider the following information when applying filters or effects specifically to bitmap objects:

•

Filters and effects don’t work on linked bitmap objects. If you apply a filter or effect to a linked bitmap, it is applied to an embedded copy of the bitmap instead of to the original. To apply the filter or effect to the original, you can embed the bitmap in the document.

•

Adobe Illustrator supports plug-in filters and effects from Adobe products such as Adobe Photoshop and from non-Adobe software developers. Once installed, most plug-in filters and effects appear in the Filter and Effect menus and work the same way as do built-in filters and effects.

•

Some filters and effects can be memory intensive, especially when applied to a high-resolution bitmap image.

See also

“About linked and embedded artwork” on page 325

“About plug-in modules” on page 46

Improving performance for filters and effects

Some filters and effects are very memory intensive. The following techniques can help improve performance when applying these filters and effects:

•

Select the Preview option in filter or effect dialog boxes to save time and prevent unintended results.

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•

Change the settings. Some commands, such as Glass, are extremely memory-intensive. Try different settings to increase their speed.

•

Make sure Illustrator has enough RAM allocated for performing tasks and for the scratch disk (the temporary disk space used to work with bitmap images).

•

If you plan to print to a grayscale printer, convert a copy of the bitmap image to grayscale before applying filters.

Note, however, that in some cases, applying a filter to a color bitmap image and then converting it to grayscale may not have the same result as applying the same filter directly to a grayscale version of the image.

To modify or delete an effect

Select the object or group (or target the layer in the Layers palette) that uses the effect.

Do one of the following:

•

To modify the effect, double-click the effect listing in the Appearance palette. In the effect’s dialog box, make the desired alterations, and then click OK.

•

To delete the effect, select the effect listing in the Appearance palette, and click the Delete button.

Summary of effects and filters

Effects and filters quick reference

Effect/Filter

Effect > 3D

Effect > Artistic

Filter > Artistic

Effect > Blur

Filter > Blur

Effect > Brush

Strokes

Filter > Brush

Strokes

Action

Convert open or closed paths, or bitmap objects, into three-dimensional (3D) objects, which you can rotate, light, and shade.

See also: “Creating 3D objects” on page 316

Simulate a painterly appearance on traditional media.

Available: RGB mode only

See also: “Artistic filters and effects” on page 429

Retouch images and smooth transitions by averaging the pixels next to the hard edges of defined lines and shaded areas in an image.

See also: “Blur filters and effects” on page 430

Create a painterly or fine-arts look using different brush- and ink- stroke effects.

See also: “Brush Strokes filters and effects” on page 430

Effect/Filter

Filter > Colors

Action

Modify an object’s color, blend colors between multiple objects, and set over printing options.

See also: “To blend colors” on page 195,

“To adjust multiple colors at the same time” on page 195, “To convert colors to grayscale” on page 195, “To convert grayscale images to RGB or CMYK” on page 196, “To invert multiple colors” on page 187, “To adjust the saturation of multiple colors” on page 196, “To over print black” on page 491

Effect > Convert To

Shape

Reshape either a vector or a bitmap object.

See also: “Reshaping objects with effects” on page 314

Filter > Create

Filter > Distort

Effect > Distort &

Transform

(top section of menu)

Effect > Distort

Filter > Distort

(bottom section of menu)

Effect > Path

Transform the colors in a bitmap object to mosaic tiles (Object Mosaic). Define where your artwork should be trimmed inside the artboard area (Crop Marks).

See also: “To create a mosaic” on page 438, “To create crop marks around an object” on page 476

Reshape vector objects, or apply the effects to a fill or stroke added to a bitmap object with the Appearance palette.

Available: RGB mode only

See also: “Reshaping objects with effects” on page 314

Geometrically distort and reshape an image.

See also: “Distort filters and effects

(bottom of menu)” on page 431

Offset an object’s path relative to its original location, turn type into a set of compound paths that you can edit and manipulate as you would any other graphic object, and change the stroke of a selected object to a filled object that’s the same width as the original stroke.

You can also apply these commands to a fill or stroke added to a bitmap object with the Appearance palette.

See also: “To offset objects using the

Offset Path effect” on page 287, “Modi fying letterforms as graphic objects” on page 378, “To convert strokes to compound paths” on page 228

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Effect/Filter Action

Effect > Pathfinder Combine groups, layers, or sublayers into single editable objects.

See also: “Pathfinder effects” on page 304

Effect > Pixelate

Filter > Pixelate

Effect > Rasterize

Sharply define a selection by clumping pixels of similar color values.

See also: “Pixelate filters and effects” on page 431

Convert a vector object to a bitmap object.

See also: “To rasterize a vector object” on page 437

Effect > Sharpen

Filter > Sharpen

Effect > Sketch

Filter > Sketch

Effect > Stylize

Filter > Stylize

(top section of menu)

Focus blurry images by increasing the contrast of adjacent pixels.

See also: “Sharpen filter and effect” on page 432

Add texture to images, often for a threedimensional effect. The filters are also useful for creating a fine-arts or handdrawn look.

Available: RGB mode only

See also: “Sketch filters and effects” on page 432

Add arrowheads, drop shadows, round corners, feathered-edged, glowing, and scribble-styled appearances to objects.

Available: RGB mode only

See also: “To create a drop shadow” on page 434, “To apply an inner or outer glow” on page 435, “To add arrowheads to lines” on page 226, “To feather the edges of an object” on page 435, “To apply the Scribble effect” on page 436,

“To round the corners of objects” on page 315

Effect > Stylize

Filter > Stylize

(bottom section of menu)

The Glowing Edges command produces a painted or impressionistic effect on a selection by displacing pixels and by finding and heightening contrast in an image.

Artistic filters and effects

Artistic effects are available only for documents in RGB color mode. They are raster-based and use the document’s raster effects settings whenever you apply the effect to a vector object.

Colored Pencil

Draws an image using colored pencils on a solid background. Important edges are retained and given a rough crosshatch appearance; the solid background color shows through the smoother areas.

Cutout

Portrays an image as though it were made from roughly cut-out pieces of colored paper. High-contrast images appear as if in silhouette; colored images are built up as if from several layers of colored paper.

Dry Brush

Paints the edges of the image using a dry-brush technique (between oil and watercolor). The filter simplifies an image by reducing its range of colors.

Film Grain

Applies an even pattern to the shadow tones and midtones of an image. A smoother, more saturated pattern is added to the image’s lighter areas. This filter is useful for eliminating banding in blends and visually unifying elements from various sources.

Fresco

Paints an image in a coarse manner using short, rounded strokes as if hastily applied.

Neon Glow

Adds various types of glows to the objects in an image. This filter is useful for colorizing an image while softening its look. To select a glow color, click the glow box and select a color from the color picker.

Paint Daubs

Lets you choose from various brush sizes (from 1 to 50) and types for a painterly effect. Brush types include simple, light rough, light dark, wide sharp, wide blurry, and sparkle.

Palette Knife

Reduces detail in an image to give the effect of a thinly painted canvas that reveals the texture under neath.

Plastic Wrap

Coats the image as if in shiny plastic, accentuating the surface detail.

Poster Edges

Reduces the number of colors in an image according to the Posterization value you set, then finds the edges of the image and draws black lines on them. Broader areas of the image have simple shading, while fine, dark detail is distributed throughout the image.

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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.

Sponge

Creates images with highly textured areas of contrasting color as if painted with a sponge.

Underpainting

Paints the image on a textured background, and then paints the final image over it.

Watercolor

Paints the image in a watercolor style, simplifying details and using a medium brush loaded with water and color. Where significant tonal changes occur at edges, the filter saturates the color.

See also

“Effects and filters quick reference” on page 426

“To use texture and glass surface controls” on page 434

Blur filters and effects

The commands in the Blur submenu in the Filter and Effect menus raster-based and use the document’s raster effects settings whenever you apply the effect to a vector object.

Gaussian Blur

Quickly blurs a selection by an adjustable amount. This filter removes high-frequency detail and can produce a hazy effect.

Radial Blur

Simulates the soft blur created by a zooming or rotating camera. Choose Spin to blur along concentric circular lines, and then specify a degree of rotation; Zoom to blur along radial lines, as if zooming in or out of the image, and specify an amount from 1 to 100. Blur quality ranges from Draft for the fastest but grainy results to Good and Best for smoother results, which are indistinguishable except on a large selection. Specify the origin of the blur by dragging the pattern in the Blur Center box.

See also

“Effects and filters quick reference” on page 426

Brush Strokes filters and effects

The Brush Strokes effects are raster-based and use the document’s raster effects settings whenever you apply the effect to a vector object.

Accented Edges

Accentuates the edges of an image. When the Edge Brightness control is set to a high value, the accents resemble white chalk; when set to a low value, the accents resemble black ink.

Angled Strokes

Repaints an image using diagonal strokes. The lighter areas of the image are painted in strokes going in one direction, while the darker areas are painted in strokes going the opposite direction.

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.

Ink Outlines

Redraws an image with fine narrow lines over the original details, in pen-and-ink style.

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Spatter

Replicates the effect of a spatter airbrush. Increasing the values of the options simplifies the overall effect.

Sprayed Strokes

Repaints an image using its dominant colors with angled, sprayed strokes of color.

Sumi-e

Paints an image in Japanese style as if with a wet brush full of black ink on rice paper. The effect is soft, blurry edges with rich blacks.

See also

“Effects and filters quick reference” on page 426

Distort filters and effects (bottom of menu)

The Distort commands can be very memory intensive. They are raster-based and use the document’s raster effects settings whenever you apply the effect to a vector object. Note that these filters and effects are available only for documents in RGB color mode.

Diffuse Glow

Renders an image as if it were being viewed through a soft diffusion filter. The filter adds see-through white noise to an image, with the glow fading from the center of a selection.

Glass

Makes an image appear as if it were being viewed through different types of glass. You can choose a preset glass effect or create your own glass surface using a Photoshop file. You can adjust scaling, distortion, and smoothness settings, as well as texturizing options.

Ocean Ripple

Adds randomly spaced ripples to the artwork, making the artwork look as if it were under water.

See also

“To use texture and glass surface controls” on page 434

“Effects and filters quick reference” on page 426

Pixelate filters and effects

The Pixelate effects are raster-based and use the document’s raster effects settings whenever you apply the effect to a vector object.

Color Halftone

Simulates the effect of using an enlarged halftone screen on each channel of the image. For each channel, the filter divides the image into rectangles and replaces each rectangle with a circle. The circle size is propor tional to the brightness of the rectangle.

To use the filter or effect, enter a value in pixels for the maximum radius of a halftone dot (from 4 to 127), and enter a screen-angle value (the angle of the dot relative to the true horizontal) for one or more channels. For Grayscale images, use only channel 1; for RGB images, use channels 1, 2, and 3, which correspond to the red, green, and blue channels; for CMYK images, use all four channels, which correspond to the cyan, magenta, yellow, and black channels.

Crystallize

Clumps colors into polygon shapes.

Mezzotint

Converts an image to a random pattern of black-and-white areas, or of fully saturated colors in a color image. To use the filter, choose a dot pattern from the Type pop-up menu in the Mezzotint dialog box.

Pointillize

Breaks up the color in an image into randomly placed dots, as in a pointillist painting, and uses the background color as a canvas area between the dots.

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See also

“Effects and filters quick reference” on page 426

Sharpen filter and effect

The Unsharp Mask command in the Sharpen submenu in the Filter or Effect menu focuses blurry images by increasing the contrast of adjacent pixels. This effect is raster-based and uses the document’s raster effects settings whenever you apply the effect to a vector graphic.

Unsharp Mask

Finds the areas in the image where significant color changes occur and sharpens them. Use the

Unsharp Mask filter to adjust the contrast of edge detail and produce a lighter and darker line on each side of the edge. This emphasizes the edge and creates the illusion of a sharper image.

See also

“Effects and filters quick reference” on page 426

Sketch filters and effects

Many of the Sketch filters use black and white colors to redraw the image. The effects are raster-based and use the document’s raster effects settings whenever you apply the effect to a vector graphic. These filters and effects are available only for documents in RGB color mode.

Bas Relief

Transforms an image to appear carved in low relief and lit to accent the surface variations. Dark areas of the image are colored black; light colors are colored white.

Chalk & Charcoal

Redraws an image’s highlights and midtones with a solid midtone gray background drawn in coarse chalk. Shadow areas are replaced with diagonal charcoal lines. The charcoal is drawn in black, the chalk in white.

Charcoal

Redraws an image to create a posterized, smudged effect. Major edges are drawn boldly while midtones are sketched using a diagonal stroke. Charcoal is colored black; the paper is colored white.

Chrome

Treats the image as if it were a polished chrome surface. Highlights are high points and shadows are low points in the reflecting surface.

Conté Crayon

Replicates the texture of dense dark and pure white Conté crayons on an image. The Conté Crayon filter uses black for dark areas and the white for light areas.

Graphic Pen

Uses fine, linear ink strokes to capture the details in the original image. The filter replaces color in the original image using black for ink and white for paper. This command is especially striking with scanned images.

Halftone Pattern

Simulates the effect of a halftone screen while maintaining the continuous range of tones.

Note Paper

Creates an image that appears to be constructed of handmade paper. The filter simplifies an image, and combines the effect of the Grain command (Texture submenu) with an embossed appearance. Dark areas of the image appear as holes in the top layer of paper surrounded by white.

Photocopy

Simulates the effect of photocopying an image. Large areas of darkness tend to copy only around their edges; midtones fall away to either solid black or white.

Plaster

Molds an image as if from plaster, and then colorizes the result using black and white. Dark areas are raised; light areas are sunken.

Reticulation

Simulates the controlled shrinking and distorting of film emulsion to create an image that appears clumped in the shadow areas and lightly grained in the highlights.

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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 particularly 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.

See also

“Effects and filters quick reference” on page 426

Stylize filter and effect (bottom of menu)

The Glowing Edges effect is raster-based and uses the document’s raster effects settings whenever you apply the effect to a vector graphic. This command is available only for documents in RGB color mode.

Glowing Edges

Identifies the edges of color and adds a neon-like glow to them.

See also

“Effects and filters quick reference” on page 426

Texture filters and effects

The Texture effects are raster-based and use the document’s raster effects settings whenever you apply the effect to a vector graphic. They are available only for documents in RGB color mode.

Craquelure

Paints an image onto a high-relief plaster surface, producing a fine network of cracks that follow the contours of the image. Use this filter to create an embossing effect with images that contain a broad range of color or grayscale values.

Grain

Adds texture to an image by simulating different kinds of grain—regular, soft, sprinkles, clumped, contrasty, enlarged, stippled, horizontal, vertical, or speckle. For more information on using this command’s texturizing options, see “To use texture and glass surface controls” on page 434.

Mosaic Tiles

Draws the image as if it were made up of small chips or tiles and adds grout between the tiles. (In contrast, the Pixelate > Mosaic command breaks up an image into blocks of different-colored pixels.)

Patchwork

Breaks up an image into squares filled with the predominant color in that area of the image. The filter randomly reduces or increases the tile depth to replicate highlights and shadows.

Stained Glass

Repaints an image as single-colored adjacent cells outlined in the foreground color.

Texturizer

Applies a texture you select or create to an image.

See also

“Effects and filters quick reference” on page 426

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Video filters and effects

The Video effects are raster-based and use the document’s raster effects settings whenever you apply the effect to a vector graphic. They are available only for documents in RGB color mode.

De-Interlace

Smooths moving images captured on video by removing either the odd or even interlaced lines in a video image. You can choose to replace the discarded lines by duplication or interpolation.

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 and filters quick reference” on page 426

To use texture and glass surface controls

Some effects and filters included in Illustrator have texturizing options, such as the Glass, Rough Pastels, Grain, and

Fresco effects. The texturizing options can make an object appear as though painted onto various textures, such as canvas or brick, or viewed through glass blocks.

In the filter or effect’s dialog box, choose a texture type from the Texture pop-up menu (if available), or choose

Load Texture (only available for Rough Pastels or Glass commands) to specify a file.

Set other options, if available:

•

Drag the Scaling slider to enlarge or reduce the effect on the bitmap image’s surface.

•

Drag the Relief slider to adjust the depth of the texture’s surface.

•

From the Light Direction pop-up menu, choose the direction from which you want the light to appear.

•

Select Invert to reverse the surface’s light and dark colors.

Drop shadows, glows, and feathering

To create a drop shadow

Select an object or group (or target a layer in the Layers palette).

Choose Effect > Stylize > Drop Shadow or Filter > Stylize > Drop Shadow.

Set options for the drop shadow (see “Drop Shadow options” on page 434), and click OK.

See also

“About targeting” on page 420

“Selecting objects” on page 262

“About effects and filters” on page 423

Drop Shadow options

Mode

Specifies a blending mode for the drop shadow.

Opacity

Specifies the percentage of opacity you want for the drop shadow.

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X Offset and Y Offset

Specifies the distance you want the drop shadow to be offset from the object.

Blur

Specifies the distance from the edge of the shadow where you want any blurring to occur. Illustrator creates a transparent raster object to simulate the blur.

Color

Specifies a color for the shadow.

Darkness

Specifies the percentage of black you want added for the drop shadow. In a CMYK document, a value of

100%, used with a selected object that contains a fill or stroke color other than black, creates a multicolored black shadow. A value of 100% used with a selected object that contains only a black fill or stroke creates a 100% black shadow. A value of 0% creates a drop shadow the color of the selected object.

Create Separate Shadows (Drop Shadow filter only)

Places each shadow directly behind the object to which the shadow is applied. Otherwise, the shadows are all placed together behind the bottommost selected object.

See also

“About blending modes” on page 248

To apply an inner or outer glow

Select an object or group (or target a layer in the Layers palette).

Choose Effect > Stylize > Inner Glow or Effect > Stylize > Outer Glow.

Click the color preview square next to the blending mode menu to specify a color for the glow.

Set additional options (see “Inner and Outer Glow options” on page 435), and click OK.

When you expand an object that uses an inner-glow effect, the inner glow reveals itself as an opacity mask; if you expand an object that uses an outer glow, the outer glow becomes a transparent raster object.

See also

“About targeting” on page 420

“Selecting objects” on page 262

“About effects and filters” on page 423

Inner and Outer Glow options

Mode

Specifies a blending mode for the glow.

Opacity

Specifies the percentage of opacity you want for the glow.

Blur

Specifies the distance from the center or edge of the selection where you want any blurring to occur.

Center (Inner Glow only)

Applies a glow that emanates from the center of the selection.

Edge (Inner Glow only)

Applies a glow that emanates from the inside edges of the selection.

See also

“About blending modes” on page 248

To feather the edges of an object

Select the object or group (or target a layer in the Layers palette).

Choose Effect > Stylize > Feather.

Set the distance over which the object fades from opaque to transparent, and click OK.

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Original object selected (left) and using feather effect (right)

See also

“About effects and filters” on page 423

“About targeting” on page 420

“About raster effects” on page 424

“Selecting objects” on page 262

Making objects look hand-sketched

To apply the Scribble effect

Do one of the following:

•

Select the object or group (or target a layer in the Layers palette).

•

To apply the effect to a specific object attribute, such as a stroke or fill, select the object, and then select the attribute in the Appearance palette.

•

To apply the effect to a graphic style, select a graphic style in the Graphic Styles palette.

Choose Effect > Stylize > Scribble.

Do one of the following:

•

To use a preset scribble effect, choose one from the Settings menu.

•

To create a custom scribble effect, begin with any preset, and then adjust the options (see “Scribble options” on page 437).

Click OK.

See also

“About targeting” on page 420

“About effects and filters” on page 423

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“To modify or delete an effect” on page 426

“Selecting objects” on page 262

Scribble options

Angle

Controls the direction of the scribble lines. You can click any point on the angle icon, drag the angle line around the angle icon, or enter a value between –179 and 180 in the box. (If you enter a value that’s outside that range, the value is translated to its equivalent in-range value.)

Path Overlap

Controls the amount the scribble lines stay within or extend beyond the path boundaries. A negative value constrains the scribble lines within the path boundary and a positive value extends the scribble lines beyond the path boundary.

Variation (for Path Overlap)

Controls the lengths of the difference in scribble line lengths relative to each other.

Stroke Width

Controls the width of the scribble lines.

Curviness

Controls the amount the scribble lines curve before they reverse direction.

Variation (for Curviness)

Controls how different the scribble line curves are relative to each other.

Spacing

Controls the amount of space between scribble line folds.

Variation (for Spacing)

Controls how different the amount of space is between scribble line folds.

Changing vector graphics to bitmap images

About rasterization

Rasterization

is the process of changing a vector graphic to a bitmap image. During rasterization, Illustrator converts the graphic’s paths into pixels. The rasterization options you set determine the size and other characteristics of the resulting pixels.

You can rasterize individual vector objects using the Object > Rasterize command or the Rasterize effect. You can also rasterize an entire document by exporting it to a bitmap format, such as JPEG, GIF, or TIFF.

See also

“Saving and exporting artwork” on page 334

To rasterize a vector object

Select one or more objects.

Do one of the following:

•

To permanently rasterize the objects, choose Object > Rasterize.

•

To create the appearance of rasterization without changing the objects’ underlying structure, choose Effect >

Rasterize.

Set rasterization options (see “Rasterization options” on page 424), and click OK.

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See also

“About effects and filters” on page 423

“To modify or delete an effect” on page 426

Creating mosaics

To create a mosaic

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.

Select the image.

Choose Filter > Create > Object Mosaic.

If you want to change the dimensions of the mosaic, enter values for New Size.

Set options to control the spacing between tiles and the total number of tiles. (See “Object Mosaic options” on page 438.)

Set additional options, and click OK.

See also

“To rasterize a vector object” on page 437

“About linked and embedded artwork” on page 325

Object Mosaic options

Constrain Ratio

Locks the width or height dimensions to those of the original bitmap image. Width calculates the appropriate number of tiles to use for the width of the mosaic, based on the original number of tiles for the width.

Height calculates the appropriate number of tiles to use for the height of the mosaic, based on the original number of tiles for the height.

Result

Specifies whether the mosaic tiles are color or grayscale.

Resize Using Percentages

Changes the size of the image by percentages of width and height.

Delete Raster

Deletes the original bitmap image.

Use Ratio

Makes the tiles square, using the number of tiles specified in Number Of Tiles. This option is located below the Cancel button.

Graphic styles

About graphic styles

A graphic style is a set of reusable appearance attributes. Graphic styles allow you to quickly change the look of an object; for example, you can change its fill and stroke color, alter its transparency, and apply effects in one step. All the changes you apply with graphic styles are completely reversible.

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You can apply graphic styles to objects, groups, and layers. When you apply a graphic style to a group or layer, every object in the group or layer takes on the attributes of the graphic style. For example, assume you have a graphic style that consists of 50% opacity. If you apply the graphic style to a layer, all objects in or added to that layer will appear

50% opaque. However, if you move an object out of the layer, the object’s appearance reverts to its previous opacity.

If you apply a graphic style to a group or layer, but the style’s fill color doesn’t appear in the artwork, drag the Fill attribute above the Contents entry in the Appearance palette.

To apply a graphic style

Select an object or group (or target a layer in the Layers palette).

Select a style in the Control palette, the Graphic Styles palette, or a graphic style library.

You can also drag the graphic style onto an object in the document window. (The object does not have to be selected first.)

Note:

To preserve the color of type when applying a graphic style, deselect Override Character Color in the Graphic Styles palette menu.

To work with graphic styles

In the Graphic Styles palette, you can select a graphic style and do any of the following:

•

To duplicate a graphic style, choose Duplicate Graphic Style from the palette menu, or drag the graphic style onto the New Style button.

The new graphic style appears at the bottom of the list in the Graphic Styles palette.

•

To rename a graphic style, choose Graphic Style Options from the palette menu, rename the file, and then click OK.

•

To delete a graphic style, choose Delete Graphic Style from the palette menu and click Yes, or drag the style onto the Delete icon.

Any objects, groups, or layers that used the graphic style retain the same appearance attributes; however, these attributes are no longer associated with a graphic style.

•

To create a new graphic style based on two or more existing graphic styles, Ctrl-click (Windows) or

Command-click (Mac OS) to select all the graphic styles you want to merge, and then choose Merge Graphic

Styles from the palette menu.

The new graphic style contains all the attributes of the selected graphic styles and is added to the end of the list of graphic styles in the palette.

About graphic style libraries

Graphic style libraries

are collections of preset graphic styles. To open a graphic style library, select it from the

Window > Graphic Style Libraries submenu or the Open Graphic Style Library submenu in the Graphic Styles palette menu.

When you open a graphic style library, it appears in a new palette (not the Graphic Styles palette). You select, sort, and view items in a graphic style library the same as you do in the Graphic Styles palette. However, you can’t add items to, delete items from, or edit the items in graphic style libraries.

To automatically open a library when you start Illustrator, choose Persistent from the library’s palette menu.

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To use the Graphic Styles palette

You use the Graphic Styles palette to create, name, and apply sets of appearance attributes. The palette lists a default set of graphic styles when you create a new document. Graphic styles that are saved with the active document will display in the palette when that document is open and active. To display the Graphic Styles palette, choose Window >

Graphic Styles.

❖

Do any of the following to change how graphic styles are listed in the palette:

•

Select a view option from the palette menu: Thumbnail View to display thumbnails, Small List View to display a list of named styles with a small thumbnail, or Large List View to display a list of named styles along with a large thumbnail.

•

Drag the graphic style to a different position. When a black line appears in the desired position, release the mouse button.

•

Select Sort By Name from the palette menu to list the graphic styles in alphabetical order.

To break the link to a graphic style

Select the object, group, or layer that has the graphic style applied to it.

Do one of the following:

•

Choose Break Link To Graphic Style from the Graphic Styles palette menu, or click the Break Link To Graphic

Style button in the palette.

•

Change any appearance attribute of the selection (such as a fill, stroke, transparency, or effect).

The object, group, or layer retains the same appearance attributes and is now independently editable. However, these attributes are no longer associated with a graphic style.

To create graphic styles

Select an object and apply any combination of appearance attributes, including fills and strokes, effects, and trans parency settings.

You can use the Appearance palette to adjust and order the appearance attributes and create multiple fills and strokes.

For example, you can have three fills in a graphic style, each with a different opacity and blend mode that defines how the various colors interact.

Do any of the following:

•

Click the New Graphic Style button in the Graphic Styles palette.

•

Select New Graphic Style from the palette menu.

•

Drag the thumbnail from the Appearance palette (or the object from the illustration window) into the Graphic

Styles palette.

•

Alt-click (Windows) or Option-click (Mac OS) the New Graphic Style button, enter the name of the graphic style, and click OK.

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Drag the thumbnail from the Appearance palette to the Graphic Styles palette to save the attributes.

To replace graphic style attributes

•

Alt-drag (Windows) or Option-drag (Mac OS) the graphic style you want to use onto the graphic style you want to replace.

•

Select an object or group (or target a layer in the Layers palette) that has the attributes you want to use. Then

Alt-drag (Windows) or Option-drag (Mac OS) the thumbnail at the top of the Appearance palette onto the graphic style you want to replace in the Graphic Styles palette.

•

Select the graphic style you want to replace. Then select artwork (or target an item in the Layers palette) that has the attributes you want to use, and choose Redefine Graphic Style “

Style name

” from the Appearance palette menu.

The replaced graphic style keeps its name but takes on new appearance attributes. All occurrences of the graphic style in the Illustrator document are updated to use the new attributes.

To create a graphic style library

Add the graphic styles you want to the Graphic Styles palette, and delete any graphic styles you don’t want.

To select all graphic styles that aren’t used in a document, choose Select All Unused from the Graphic Styles palette menu.

Choose Save Graphic Style Library from the Graphic Style palette menu.

You can save the library anywhere. However, if you save the library file in the default location, the library name will appear in the Graphic Style Libraries submenu and the Open Graphic Style Library submenu when you restart

Illustrator.

To move graphic styles from a library to the Graphic Styles palette

•

Drag one or more graphic styles from the graphic styles library to the Graphic Styles palette.

•

Select the graphic styles you want to add, and select Add To Graphic Styles from the library’s palette menu.

•

Apply a graphic style to an object in the document. The graphic style is automatically added to the Graphic Styles palette.

To import all graphic styles from another document

Choose Window > Graphic Style Libraries > Other Library or select Open Graphic Style Library > Other Library from the Graphic Styles palette menu.

Select the file from which you want to import graphic styles, and click Open.

The graphic styles appear in a graphic style library palette (not the Graphic Styles palette).

Chapter 16: 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. To help you make informed decisions about web graphics, keep in mind the following three guidelines:

1. Use web-safe colors.

Color is often a key aspect of artwork. However, the colors you see on your artboard aren’t necessarily the colors that will appear in a web browser on someone else’s system. You can prevent dithering (the method of simulating unavailable colors) and other color problems by taking two precautionary steps when creating web graphics. First, always work in RGB color mode. Second, use a web-safe color. (See “To change the color mode of a document” on page 185 and “To shift a color to a web-safe color” on page 187.)

2. Balance image quality with file size.

Creating small graphics file sizes is essential to distributing images on the web. With smaller file sizes, web servers can store and transmit images more efficiently, and viewers can download images more quickly. You can view the size and the estimated download time for a web graphic in the Save For Web dialog box.

3. Choose the best file format for your graphic.

Different types of graphics need to be saved in different file formats to display their best and create a file size suitable for the web. For more information on specific formats, see “Comparing web graphics formats” on page 456.

There are many Illustrator templates made specifically for the web, including web pages and banners. Choose File >

New From Template to choose a template.

See also

“About the Save For Web dialog box” on page 452

“To optimize and save web graphics” on page 452

About pixel preview mode

When you save artwork in a bitmap format—such as JPEG, GIF, or PNG—Illustrator rasterizes the artwork at 72 pixels per inch. You can preview how objects will appear when rasterized by choosing View > Pixel Preview. This is especially helpful when you want to control the precise placement, size, and anti-aliasing of objects in a rasterized graphic.

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. As a result, any anti-aliasing along the “snapped” edges of the object (usually the left and top edges) disappears. Now deselect the View > Snap To Pixel command, and move the object. This time, you’ll be able to position the object between the grid lines. Notice how this affects the antialiasing of the object. As you can see, making very minor adjustments can affect how the object is rasterized.

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Pixel Preview off (top) compared to on (bottom)

Important:

The pixel grid is sensitive to the ruler origin (0,0). Moving the origin of the ruler will change how Illustrator rasterizes artwork.

See also

“About bitmap images” on page 328

Slices and image maps

About slices

Web pages can contain many elements—HTML text, bitmap images, and vector graphics, to name a few. In

Illustrator, you can use

slices

to define the boundaries of different web elements in your artwork. For example, if your artwork contains a bitmap image that needs to be optimized in JPEG format, while the rest of the image is better optimized as a GIF file, you can isolate the bitmap image using a slice. When you save the artwork as a web page using the Save For Web command, you can choose to save each slice as an independent file with its own format, settings, and color palette.

Slices in an Illustrator document correspond to table cells in the resulting web page. By default, the slice area is exported as a image file that is enclosed in a table cell. If you want the table cell to contain HTML text and a background color instead of an image file, you can change the slice type to No Image. If you want to convert

Illustrator text to HTML text, you can change the slice type to HTML Text.

A B C

Gear

Clothing

Camping Gear

Backpacks Lighting Tents Slee

Sliced artwork using different slice types

No Image slice

Image slice

HTML Text slice

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You can view slices on the artboard and in the Save For Web dialog box. Illustrator numbers slices from left to right and top to bottom, beginning in the upper left corner of the artwork. If you change the arrangement or total number of slices, slice numbers are updated to reflect the new order.

When you create a slice, Illustrator slices the surrounding artwork into automatic slices to maintain the layout using a web-based table. There are two types of automatic slices: auto slices and subslices.

Auto slices

account for the areas of your artwork that you did not define as a slice. Illustrator regenerates auto slices every time you add or edit slices.

Subslices

indicate how overlapping user-defined slices will be divided. Although subslices are numbered and display a slice symbol, you cannot select them separately from the underlying slice. Illustrator regenerates subslices and auto slices as needed while you work.

See also

“About the Save For Web dialog box” on page 452

“Slices output settings” on page 465

Slicing and cutting tool gallery

Illustrator provides the following tools for slicing and cutting objects:

The Slice tool divides artwork into separate web images.

The Slice Selection tool selects web slices.

The Scissors tool (C) cuts paths at specified points.

The Knife tool cuts objects and paths.

See also

“About the toolbox” on page 29

To create slices

❖

Do one of the following:

•

Select one or more objects on the artboard, and choose Object > Slice > Make.

•

Select the Slice tool and drag over the area where you want to create a slice. Shift-drag to constrain the slice to a square. Alt-drag (Windows) or Option-drag (Mac OS) to draw from the center.

•

Select one or more objects on the artboard, and choose Object > Slice > Create From Selection.

•

Place guides where you want to slice the artwork, and choose Object > Slice > Create From Guides.

•

Select an existing slice, and choose Object > Slice > Duplicate Slice.

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Use the Object > Slice > Make command when you want the slice dimensions to match the boundary of an element in your artwork. If you move or modify the element, the slice area automatically adjusts to encompass the new artwork. Also use this command to create a slice that captures text and basic formatting characteristics from a text object.

Use the Slice tool, the Create From Selection command, or the Create From Guides command when you want the slice dimensions to be independent of the underlying artwork. Slices that you create in one of these ways appear as items in the Layers palette, and you can move, resize, and delete them in the same way as other vector objects.

To select slices

Use the Slice Select tool to select a slice in the illustration window or the Save For Web dialog box.

•

To select a slice, click it.

•

To select multiple slices, Shift-click. (In the Save For Web dialog box, you can also Shift-drag.)

•

To select an underlying slice when working with overlapping slices, click the visible section of it.

In addition, you can select slices in the illustration window by doing one of the following:

•

To select a slice that was created using the Object > Slice > Make command, select the corresponding artwork on the artboard. If the slice is tied to a group or layer, select the target icon adjacent to the group or layer in the Layers palette.)

•

To select a slice that was created using the Slice tool, the Create From Selection command, or the Create From

Guides command, target the slice in the Layers palette.

•

Click on the slice path with the Selection tool .

•

To select a slice path segment or slice anchor point, click on either item with the Direct Selection tool.

Note:

You cannot select auto slices. These slices are dimmed.

To set slice options

A slice’s options determine how the content of the slice will look and function in the resulting web page.

Do one of the following with the Slice Select tool:

•

Select a slice in the illustration window, and choose Object > Slice > Slice Options.

•

Double-click a slice in the Save For Web dialog box with the Slice Select tool.

Select a slice type and set the corresponding options:

Image

Select this type if you want the slice area to be an image file in the resulting web page. If you want the image to be an HTML link, enter a URL and target frameset. You can also specify a message that will appear in the browser’s status area when the mouse is positioned over the image, alternative text that will appear when the image is not visible, and a background color for the table cell.

No Image

Select this type if you want the slice area to contain HTML text and a background color in the resulting web page. Enter the text you want in the Text Displayed In Cell text box and format the text using standard HTML tags. Be careful not to enter more text than can be displayed in the slice area. (If you enter too much text, it will extend into neighboring slices and affect the layout of your web page. However, because you cannot see the text on the artboard, this will not be apparent until you view the web page in a web browser.) Set the Horiz and Vert options to change the alignment of text in the table cell.

HTML Text

This type is available only when you created the slice by selecting a text object and choosing Object >

Slice > Make. The Illustrator text is converted to HTML text with basic formatting attributes in the resulting web

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page. To edit the text, update the text in your artwork. Set the Horiz and Vert options to change the alignment of text in the table cell. You can also select a background color for the table cell.

To edit the text for HTML Text slices in the Slice Options dialog box, change the slice type to No Image. This breaks the link with the text object on the artboard. To ignore text formatting, enter <unformatted> as the first word in the text object.

To 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 palette.

See also

“About the Layers palette” on page 278

To adjust slice boundaries

If you created a slice using the Object > Slice > Make command, the position and size of the slice is tied to the artwork it contains. Therefore, if you move or resize the artwork, the slice boundaries adjust automatically.

If you created a slice using the Slice tool, the Create From Selection command, or the Create From Guides command, you can manually adjust slices in the following ways:

•

To move a slice, drag the slice to a new position with the Slice Selection tool . Press Shift to restrict movement to a vertical, horizontal, or 45˚ diagonal line.

•

To resize a slice, select the slice with Slice Selection tool, and drag any corner or side of the slice. You can also use the Selection tool and Transform palette to resize slices.

•

To align or distribute slices, use the Align palette. Aligning slices can eliminate unneeded auto slices to generate a smaller, more efficient HTML file.

•

To change the stacking order of slices, drag the slice to a new position in the Layers palette or select an Object >

Arrange command.

•

To divide a slice, select the slice and choose Object > Slice > Divide Slices.

You can combine slices that were created by any method. Select the slices and choose Object > Slice > Combine

Slices. The resulting slice takes its dimensions and position from the rectangle created by joining the outer edges of the combined slices. If the combined slices are not adjacent or are of different proportions or alignments, the new slice may overlap other slices.

To resize all slices to the artboard boundaries, choose Object > Slice > Clip To Artboard. Slices that extend beyond the artboard are truncated to fit the artboard and autoslices that lie within the artboard are extended to the artboard boundaries; all artwork remains the same.

To remove slices

You can remove slices by deleting them or by releasing them from the corresponding artwork.

•

To delete a slice, select the slice, and press Delete. If the slice was created using the Object > Slice > Make command, the corresponding artwork is deleted at the same time. If you want to keep the corresponding artwork, release the slice instead of deleting it.

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•

To delete all slices, choose Object > Slice > Delete All. Slices created with the Object > Slice > Make command are released, not deleted.

•

To release a slice, select the slice and choose Object > Slice > Release.

To show or hide slices

•

To hide slices in the illustration window, choose View > Hide Slices.

•

To hide slices in the Save For Web 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).

About image maps

Image maps enable you to link one or more areas of an image—called hotspots—to a URL. When a user clicks on the hotspot, the web browser loads the linked file.

The main difference between using image maps and using slices to create links is in how the artwork is exported as a web page. Using image maps keeps the artwork intact as a single image file, while using slices causes the artwork to be divided into separate files. Another difference between image maps and slices is that image maps enable you to link polygonal or rectangular areas in your artwork, while slices enable you to link only rectangular areas. If you need to link only rectangular areas, using slices may be preferable to using an image map.

Note:

To avoid unexpected results, don’t create image-map hotspots in slices that contain URL links—either the image map links or the slice links may be ignored in some browsers.

To create image maps

Select the object that you want to link to a URL.

In the Attributes palette, select a shape for the image map from the Image Map menu.

Enter a relative or full URL in the URL text box, or select from the list of available URLs. You can verify the URL location by clicking the Browser button.

To increase the number of visible entries in the URL menu, select Palette Options from the Attributes palette menu.

Enter a value from 1 to 30 to define how many URL entries you want to be displayed in the URL list.

SVG

About SVG

Bitmap image formats for the web—GIF, JPEG, WBMP, and PNG—describe images using a grid of pixels. The resulting files tend to be bulky, limited to a single (often low) resolution, and consume large amounts of bandwidth on the web. SVG, on the other hand, is a vector format that describes images as shapes, paths, text, and filter effects.

The resulting files are compact and provide high-quality graphics on the web, in print, and even on resourceconstrained, handheld devices. Users can magnify their view of an SVG image on-screen without sacrificing sharpness, detail, or clarity. In addition, SVG provides superior support for text and colors, which ensures that users will see images as they appear on your Illustrator artboard.

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The SVG format is entirely XML-based and offers many advantages to developers and users alike. With SVG, you can use XML and JavaScript to create web graphics that respond to user actions with sophisticated effects such as highlighting, tool tips, audio, and animation.

You can save artwork in SVG format using the Save, Save As, Save A Copy, or Save For Web command. To access the complete set of SVG export options, use the Save, Save As, or Save A Copy command. The Save For Web command provides a subset of SVG export options which are applicable to web-oriented work.

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 (<g>) element. (For example, a layer named Button1 becomes <g id="Button1"> in the SVG file.) Nested layers become SVG nested groups, and hidden layers are preserved with the SVG styling property “display:none”.

•

If you want objects on different layers to appear transparent, adjust the opacity of each object instead of each layer.

If you alter opacity at the layer level, the resulting SVG file will not display transparency as it appears in Illustrator.

•

Raster data is not scalable in the SVG Viewer and cannot be edited like other SVG elements. If possible, avoid creating artwork that will be rasterized in the SVG file. Gradient meshes and objects that use the Rasterize,

Artistic, Blur, Brush Strokes, Distort, Pixelate, Sharpen, Sketch, Stylize, Texture, and Video effects are rasterized when saved in SVG format. Similarly, graphic styles that include these effects also produce rasterization. Use SVG effects to add graphic effects without causing rasterization.

•

Use symbols and simplify the paths in your artwork to improve SVG performance. Also avoid using brushes that produce a lot of path data, such as the Charcoal, Fire Ash, and Scroll Pen, if performance is a high priority.

•

Use slices, image maps, and scripts to add web links to an SVG file.

•

A scripting language, such as JavaScript, opens unlimited functionality to an SVG file. Pointer and keyboard movements can invoke scripting functions such as rollover effects. Scripts can also use the Document Object

Model (DOM) to access and modify the SVG file—inserting or deleting SVG elements, for example.

See also

“To optimize and save web graphics” on page 452

“To save in SVG format” on page 337

About SVG effects

You can use SVG effects to add graphic properties such as drop shadows to your artwork. SVG effects differ from their bitmap counterparts in that they are XML-based and resolution-independent. In fact, an SVG effect is nothing more than a series of XML properties that describe various mathematical operations. The resulting effect is rendered to the target object instead of the source graphic.

Illustrator provides a default set of SVG effects. You can use the effects with their default properties, edit the XML code to produce custom effects, or write new SVG effects.

To modify Illustrator’s default SVG filters, use a text editor to edit the Adobe SVG Filters.svg file in the Plug-ins folder inside the Adobe Illustrator application folder. You can modify existing filter definitions, delete filter definitions, and add new filter definitions.

To apply SVG effects

Select an object or group (or target a layer in the Layers palette).

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Do one of the following:

•

To apply an effect with its default settings, select the effect from the bottom section of the Effect > SVG Filters submenu.

•

To apply an effect with custom settings, choose Effect > SVG Filters > Apply SVG Filter. In the dialog box, select the effect, and click the Edit SVG Filter button . Edit the default code and click OK.

•

To create and apply a new effect, choose Effect > SVG Filters > Apply SVG Filter. In the dialog box, click the

New SVG Filter button , enter the new code, and click OK.

When you apply an SVG filter effect, Illustrator displays a rasterized version of the effect on the artboard. You can control the resolution of this preview image by modifying the document’s rasterization resolution setting.

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 palette (just above the Transparency entry). If other effects follow an SVG effect, the SVG output will consist of a raster object.

See also

“About SVG” on page 447

“About raster effects” on page 424

“To modify or delete an effect” on page 426

To import effects from an SVG file

Choose Effect > SVG Filter > Import SVG Filter.

Select the SVG file you want to import effects from, and click Open.

About the SVG Interactivity palette

You use the SVG Interactivity palette to add interactivity to your artwork when it is exported for viewing in a web browser. For example, by creating an event that triggers a JavaScript command, you can quickly create movement on a web page when the user performs an action such as moving a mouse cursor over an object. The SVG Interactivity palette also lets you see all the events and JavaScript files associated with the current file. To display the palette, choose Window > SVG Interactivity.

To delete an event from the SVG Interactivity palette, select the event, and click the Delete button. To list, add, or remove events linked to the file, click the Link JavaScript Files button . In the JavaScript Files dialog box, select a JavaScript entry. Click Add to browse for additional JavaScript files; click Remove to remove the selected JavaScript entry.

See also

“About SVG” on page 447

“To optimize and save web graphics” on page 452

“To save in SVG format” on page 337

To add SVG interactivity to artwork

In the SVG Interactivity palette, select an event. (See “SVG events” on page 450.)

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Enter the corresponding JavaScript, and press Enter.

SVG events

onfocusin

Triggers the action when the element receives focus, such as selection by the pointer.

onfocusout

Triggers the action when the element loses focus (often when another element receives focus).

onactivate

Triggers the action with a mouse click or keypress, depending upon the SVG element.

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.

onkeydown

Triggers the action when a key is pressed down.

onkeypress

Triggers the action while a key is pressed down.

onkeyup

Triggers the action when a key is released.

onload

Triggers the action after the SVG document has been completely parsed by the browser. Use this event to call one-time-only initialization functions.

onerror

Triggers the action when an element does not load properly or another error occurs.

onabort

Triggers the action when the page loading is stopped before the element is completely loaded.

onunload

Triggers the action when the SVG document is removed from a window or frame.

onzoom

Triggers the action when the zoom level is changed for the document.

onresize

Triggers the action when the document view is resized.

onscroll

Triggers the action when the document view is scrolled or panned.

Creating animations

About Flash graphics

The Macromedia® Flash™ (SWF) file format is a vector-based graphics file format for the creation of scalable, compact graphics for the web. Since the file format is vector-based, the artwork maintains its image quality at any resolution and is ideal for the creation of animation frames. In Illustrator, you can create individual animation frames on layers and then export the image layers into individual frames for use on a website. You can also define graphic elements called

symbols

in your Illustrator file. When exported, each symbol is defined only once in the SWF file; therefore, using symbols can greatly reduce the size of an animation.

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You can save artwork in SWF format using the Export command or the Save For Web command. Options in the

Export dialog box give you more control over animation and bitmap compression options, while options in the Save

For Web dialog box give you more control over the mix of SWF and bitmap formats in a sliced layout. Although the

Save For Web dialog box doesn’t let you set the Image options that are available for the Export (SWF) command, the

Save For Web command does use the Export command’s last-used settings.

Keep the following information in mind when preparing artwork to be saved in SWF format:

•

To keep the file size as small as possible when using symbols, apply effects to the symbol in the Symbols palette rather than to symbol instances in your artwork.

•

Using the Symbol Stainer and Symbol Styler tools results in larger SWF files because Illustrator must create a copy of each symbol instance to maintain their appearances.

•

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.

•

Only rounded caps or joins are supported in SWF format. Beveled or square caps and joins are converted to rounded when exported to SWF format.

•

Pattern-filled text and pattern-filled strokes are converted to paths and filled with the pattern.

•

Although text retains many of its features when exported to SWF format, some information is lost. When importing the SWF file into Macromedia Flash, leading, kerning, and tracking are not maintained. Instead, the text is broken up into separate records to simulate the look of leading. When the SWF file is subsequently played in a Macromedia Flash player, the appearance of the leading, kerning, and tracking in the file is maintained. If you wish to export text as paths, convert the text to outlines before exporting to SWF format, using the Create Outlines command.

See also

“To optimize and save web graphics” on page 452

“About symbols” on page 170

“Macromedia Flash export options” on page 342

To create Flash animations

There are many ways to create Flash animations in Illustrator. One of the easiest is to place each animation frame on a separate Illustrator layer, and select the AI Layers To SWF Frames option when you export the artwork.

Go to Adobe Studio ( http://studio.adobe.com

) for tips and tutorials on creating Flash animations.

Create the artwork you want to animate. Use symbols to reduce the file size of the animation and simplify your work. (See “About symbols” on page 170.)

Create a separate layer for each frame in the animation.

You can do this by pasting the base artwork into a new layer and then editing the artwork. Or, you can use the Release

To Layers command to automatically generate layers consisting of objects that build up cumulatively. (See “To release items to separate layers” on page 281.)

Make sure the layers are in the order in which you want to display them as animation frames.

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Choose File > Export, choose Macromedia Flash (SWF) for the format, and click Export.

In the Macromedia® Flash™ Format Options dialog box, select AI Layers To SWF Frames for Export As.

Set additional animation options, and click OK. (See “Macromedia Flash export options” on page 342.)

Optimizing and saving web graphics

About the Save For Web dialog box

You use the Save For Web dialog box (File > Save For Web) to choose web file formats, select compression and color options, and preview your optimized image. In addition, you can change the image size and export CSS layers.

Optimization settings appear on the right. You can quickly choose predefined settings, or select format-specific options to fine-tune the results of optimization.

Display options let you preview the results of the current optimization settings, either alone or in side-by-side comparison with the original image. You can use the Hand tool to bring specific areas of the image into view.

You can select the Zoom tool and click in a view to magnify it, and then hold down Alt (Windows) or Option

(Mac OS) and click again to zoom out. (Alternatively, you can use the Zoom box at the lower left.)

The file name and file size appear under the original image. Dynamic optimization information appears under the preview images: the current settings, the size of the optimized file, and the estimated download time.

Note:

If your artwork contains multiple slices, in the Save For Web dialog box you can select and optimize slices separately to achieve the best results. (See “To select slices” on page 445.)

You click Save to export your image or slices with the specified settings and formats; you can also click Done to save the current settings and close the dialog box.

To optimize and save web graphics

Optimization

is the process of compressing and setting display options for web graphics. You use the Save For Web dialog box to set optimization options for, preview the optimization of, and, finally, save a web graphic.

Choose File > Save For Web.

Click a tab at the top of the dialog box to select a display option: Optimized, 2-Up, or 4-Up. If you select 4-Up, click the preview you want to optimize.

If your artwork contains multiple slices, select one or more slices you want to optimize.

Select a preset optimization setting from the Preset menu, or set individual optimization options. The available options change depending on the file format you select. (See “Comparing web graphics formats” on page 456.)

If you’re working in 4-Up mode, choose Repopulate Views from the Optimize menu to have Illustrator automatically generate lower-quality versions of the image after you change the optimization settings.

Fine-tune the optimization settings until you are satisfied with the balance of image quality and file size. If your artwork contains multiple slices, be sure to optimize all the slices.

Click Save.

In the Save Optimized As dialog box, do the following, and then click Save:

•

Enter a file name, and select a location for the resulting file or files.

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Select a Save As Type option to specify what kind of files you want to save: HTML file and image files, only image files, or only an HTML file.

•

(Optional) Set output settings for HTML and image files. (See “Output settings for web graphics” on page 464.)

•

If your artwork contains multiple slices, select an option for saving slices: All Slices or Selected Slices.

To reset optimization settings to the last saved version, press Alt (Windows) or Option (Mac OS), and click Reset.

See also

“About web graphics” on page 442

“About the Save For Web dialog box” on page 452

To estimate the download time for a web graphic

Choose File > Save For Web.

Select your optimization settings.

Select an Internet access speed from the Preview menu above the optimized image.

The estimated download time is displayed under the optimized image. If the download time seems too long, try different optimization settings or change the image size in the Save For Web dialog box.

See also

“About web graphics” on page 442

“About the Save For Web dialog box” on page 452

To compress a web graphic to a specific file size

Choose File > Save For Web.

Click a tab at the top of the dialog box to select a display option: Optimized, 2-Up, or 4-Up. If you select 4-Up, select the preview you want to optimize.

(Optional) Select the slices you want to optimize and the file format you want to use.

Select Optimize To File Size from the Optimize menu (to the right of the Settings menu).

Enter the desired file size.

Select a Start With option:

Current Settings

to use the current file format.

Auto Select GIF/JPEG

to have Illustrator automatically select the format.

Select a Use option to specify how you want Illustrator to apply the file size to slices in your artwork, and click OK.

See also

“About web graphics” on page 442

“About the Save For Web dialog box” on page 452

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To resize web graphics

You can use the Image Size palette in the Save For Web dialog box to change the pixel dimensions of web graphics.

Click the Image Size tab in the Save For Web dialog box.

Enter a new pixel dimensions or specify a percentage by which to resize the image.

Set any of the additional options, and click Apply:

Constrain Proportions

Maintains the current proportions of pixel width to pixel height.

Anti-Alias

Removes jagged edges in the artwork by applying anti-aliasing.

Clip To Artboard

Clips the artwork size to match the document’s Artboard boundary. Any artwork outside the

Artboard boundary will be deleted.

Note:

None of the features in the Image Size palette are available for the SWF and SVG file formats except Clip To

Artboard.

See also

“About web graphics” on page 442

“About the Save For Web dialog box” on page 452

To link slices for group optimization

You can apply the same optimization settings to multiple slices by linking the slices together in the Save For Web dialog box.

Select the slices.

Select Link Slices from the Optimize menu (to the right of the Settings menu).

The link icon appears on the linked slices, and the slice lines and icons are assigned a new color to help you identify the slices in the set.

To unlink slices, select any or all slices, and choose Unlink Slice or Unlink All Slices from the Optimize menu.

Linked slices in GIF and PNG-8 format share a color palette and dither pattern to prevent the appearance of seams between the slices.

See also

“About web graphics” on page 442

To generate CSS layers for web graphics

You can use layers in your artwork to generate CSS layers in the resulting HTML file. A CSS layer is an element that has an absolute position and can overlap with other elements in a web page. Exporting CSS layers is useful when you plan to create dynamic effects in your web page.

The Layers palette in the Save For Web 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.

Click the Layers tab in the Save For Web dialog box.

Select Export As CSS Layers.

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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.

Hidden

Creates a hidden CSS layer in the resulting HTML file.

CSS layers are the same as GoLive layers. Using Adobe GoLive, you can animate a CSS layer and use built-in

JavaScript actions to create interactive effects.

See also

“About the Save For Web dialog box” on page 452

“To optimize and save web graphics” on page 452

To preview optimized images in a web browser

You can preview an optimized image in any web browser installed on your system. The browser preview displays the image with a caption listing the image’s file type, pixel dimensions, file size, compression specifications, and other

HTML information.

•

To preview an image in your default web browser, click the browser icon at the bottom of the Save For Web dialog box.

•

To select a different browser, select Other from the browser pop-up menu (next to the browser icon).

•

To add, edit, or remove a browser in the browser pop-up menu, select Edit List from the browser pop-up menu.

See also

“About the Save For Web dialog box” on page 452

“To optimize and save web graphics” on page 452

To create or delete optimization presets

You can save optimization settings as a preset in order to apply the settings to other images. Presets appear in the

Settings pop-up menu of the Save For Web dialog box.

To create a new preset, select Save Settings from the Optimize menu (to the right of the Settings menu). Name the settings, and select a location where they will be saved. By default, named settings are saved in the Presets/Save

For Web Settings/Optimize folder inside the Adobe Illustrator application folder.

To delete a preset, select the preset from Settings menu, and select Delete Settings from the Optimize menu.

See also

“About the Save For Web dialog box” on page 452

“To optimize and save web graphics” on page 452

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Web graphics formats and options

Comparing web graphics formats

Web graphics formats fall into two categories: bitmap and vector. The bitmap formats—GIF, JPEG, PNG, and

WBMP—describe artwork as a series of colored dots called pixels. Each pixel in a bitmap image has a fixed size and is therefore

resolution-dependent

, meaning that dimensions of the image depend on the resolution of the monitor on which it is viewed. The vector formats—SVG and SWF—describe artwork mathematically, as a set of geometric objects. Because of this, vector graphics are

resolution-independent

and can be scaled up or down without losing any image quality.

GIF and PNG-8

GIF is the standard format for compressing images with flat color and crisp detail, such as line art, logos, or illustra tions with type. Like the GIF format, the PNG-8 format efficiently compresses solid areas of color while preserving sharp detail; however, not all web browsers can display PNG-8 files. (See “Optimization options for GIF and PNG

8 formats” on page 457.)

PNG-8 and GIF files support 8-bit color, so they can display up to 256 colors. The process of determining which colors to use is called

indexing

, so images in GIF and PNG-8 formats are sometimes called

indexed color

images. To convert an image to indexed color, Illustrator builds a color lookup table, which stores and indexes the colors in the image. If a color in the original image does not appear in the color lookup table, the application either chooses the closest color in the table or simulates the color using a combination of available colors. (See “To customize the color table for GIF and PNG-8 images” on page 459.)

JPEG

JPEG is the standard format for compressing continuous-tone images such as photographs. Optimizing an image as a JPEG format relies on

lossy

compression, which selectively discards data. (See “Optimization options for JPEG format” on page 460.)

PNG-24

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. (See

“Optimization options for PNG-24 format” on page 460.)

SWF

The Macromedia® Flash™ (SWF) file format is a vector-based graphics file format for the creation of scalable, compact graphics for the web. Since the file format is vector-based, the artwork maintains its image quality at any resolution and is ideal for the creation of animation frames. (See “About Flash graphics” on page 450 and “Optimi zation options for SWF format” on page 461.)

SVG

SVG is a vector format that describes images as shapes, paths, text, and filter effects. The resulting files are compact and provide high-quality graphics on the web, in print, and even on resource-constrained, handheld devices. (See

“About SVG” on page 447 and “Optimization options for SVG format” on page 462.)

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WBMP

WBMP format is the standard format for optimizing images for mobile devices, such as cell phones. WBMP supports

1-bit color, which means that WBMP images contain only black and white pixels. (See “Optimization options for

WBMP format” on page 463.)

See also

“About the Save For Web dialog box” on page 452

“To optimize and save web graphics” on page 452

Optimization options for GIF and PNG-8 formats

Optimization settings for GIF

File format menu

Color Reduction Algorithm menu

Dithering Algorithm menu

Lossy (GIF only)

Reduces file size by selectively discarding data. A higher Lossy setting results in more data being discarded. You can often apply a Lossy value of 5–10, and sometimes up to 50, without degrading the image. File size can often be reduced 5%–40% using the Lossy option.

Note:

You cannot use the Lossy option with the Interlaced option or with Noise or Pattern Dither algorithms.

Color Reduction Method and Colors

Specifies a method for generating the

color lookup table

and the number of colors you want in the color lookup table. You can select one of the following color reduction methods:

•

Perceptual

tivity.

Creates a custom color table by giving priority to colors for which the human eye has greater sensi

•

Selective

Creates a color table similar to the Perceptual color table, but favoring broad areas of color and the preservation of web colors. This color table usually produces images with the greatest color integrity. Selective is the default option.

•

Adaptive

Creates a custom color table by sampling colors from the spectrum appearing most commonly in the image. For example, an image with only the colors green and blue produces a color table made primarily of greens and blues. Most images concentrate colors in particular areas of the spectrum.

•

Web

Uses the standard 216-color color table common to the Windows and Mac OS 8-bit (256-color) palettes.

This option ensures that no browser dither is applied to colors when the image is displayed using 8-bit color. (This palette is also called the Web-safe palette.) Using the web palette can create larger files, and is recommended only when avoiding browser dither is a high priority.

•

Custom

Preserves the current perceptual, selective, or adaptive color table as a fixed palette that does not update with changes to the image.

Use the Color Table palette in the Save For Web dialog box to customize the color lookup table.

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Dithering Method and Dither

Determines the method and amount of application dithering. Dithering refers to the method of simulating colors not available in the color display system of your computer. A higher dithering percentage creates the appearance of more colors and more detail in an image, but can also increase the file size. For optimal compression, use the lowest percentage of dither that provides the color detail you require. Images with primarily solid colors may work well with no dither. Images with continuous-tone color (especially color gradients) may require dithering to prevent color banding.

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.

•

Noise

Applies a random pattern similar to the Diffusion dither method, but without diffusing the pattern across adjacent pixels. No seams appear with the Noise dither method.

Transparency and Matte

Determines how transparent pixels in the image are optimized. (See “To optimize trans parency in GIF and PNG images” on page 458.)

Interlace

Creates an image that displays as a low-resolution version in a browser while the full image file is downloading. Interlacing can make downloading time seem shorter and can assure viewers that downloading is in progress. However, interlacing also increases file size.

Web Snap

Specifies a tolerance level for shifting colors to the closest web palette equivalents (and prevents the colors from dithering in a browser). A higher value shifts more colors.

See also

“About the Save For Web dialog box” on page 452

“To optimize and save web graphics” on page 452

To 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. This allows the background of the web page to show through the transparent areas of your image.

Background matting

simulates transparency by filling or blending transparent pixels with a matte color that can match the web page background. Background matting works best if the web page background is a solid color and if you know what that color is.

Use the Transparency and Matte options in the Save For Web dialog box to specify how transparency pixels in GIF and PNG images are optimized.

•

To make fully transparent pixels transparent and blend partially transparent pixels with a color, select Trans parency and select a matte color.

•

To fill fully transparent pixels with a color and blend partially transparent pixels with the same color, select a matte color and deselect Transparency.

•

(GIF and PNG-8) To make all pixels with greater than 50% transparency fully transparent and all pixels with 50% or less transparency fully opaque, select Transparency and select None from the Matte menu.

•

(PNG-24) To save an image with multilevel transparency, select Transparency and select None from the Matte menu.

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To select a matte color, click the Matte color swatch and select a color in the color picker. Alternatively, select an option from the Matte menu: Eyedropper (to use the color in the eyedropper sample box), White, Black, or Other

(to use the color picker).

See also

“About transparency” on page 243

To customize the color table for GIF and PNG-8 images

You use the Color Table palette in the Save For Web dialog box to customize the colors in optimized GIF and PNG

8 images. With a maximum of 256 colors, you can add and delete colors in the color table, shift selected colors to web-safe colors, and lock selected colors to prevent them from being dropped from the palette.

•

To add new colors to the color table, select the Eyedropper tool, and click a color in the image. (Alternatively, click the color selection box, and use the color picker to select a color.) Then, click the New Color button in the

Color Table palette. A small white square with a dark center appears in the lower right corner of the new color, indicating that the color is locked.

Note:

If the color table already contains the maximum number of colors (256, or 255 with transparency), you cannot add a new color.

•

To change a color in the color table, double-click it. A small plus sign appears in the center of each edited color.

•

To delete a color from the color table, select the color and click the Delete button. When you delete a color, areas of the optimized image that previously included that color are re-rendered using the closest color remaining in the palette. Deleting a color changes the color palette type to Custom to prevent the color from being added back to the palette if you reoptimize the image.

•

To shift a color to a web-safe color, select the color and click the Web Shift button . A small white diamond appears in the center of selected colors that have been web-shifted (and in all web-safe colors). To restore a shifted color to its original value, click the Web Shift button again. Alternatively, select Shift/Unshift Selected Colors to/from Web Palette or Unshift All Colors from the Color Table palette menu. To specify a tolerance for shifting colors, specify a value for Web Snap in the Settings section of the Save For Web dialog box. A higher value shifts more colors.

•

To lock a color so that it won’t be dropped from the color table if you reduce the number, select the color and click the Lock button . A white square with a red center appears in the lower right corner of each locked color. To unlock a color, click the Lock button again. To unlock all colors, select Unlock All Colors from the Color Table palette menu.

•

To select multiple colors in the color table, press Shift and click another color. All colors in the rows between the first and second selected colors are selected. To select a nonadjacent group of colors, press Ctrl (Windows) or

Command (Mac OS) and click each color that you want to select. The Color Table palette menu also provides commands for selecting colors.

•

To sort the colors in the color table, select a sorting command from the Color Table palette menu . You can sort colors by hue (neutral colors are assigned a hue of 0 and located with the reds), luminance (the lightness or brightness of a color), or popularity, making it easier to see an image’s color range and locate particular colors.

•

To save a color table, select Save Color Table from the Color Table palette menu. By default, the color table file is given the extension .act (for Adobe Color Table).

•

To load a color table, select Load Color Table from the Color Table palette menu. You can load a color table from an .act file or a GIF file (to load the file’s embedded color table). Once you load a new color table, the colors in the optimized image change to reflect the new color table.

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See also

“About the Save For Web dialog box” on page 452

“To optimize and save web graphics” on page 452

Optimization options for JPEG format

Optimization settings for JPEG

File format menu

Compression Quality 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.

Optimized

Creates an enhanced JPEG with a slightly smaller file size. The Optimized JPEG format is recommended for maximum file compression; however, some older browsers do not support this feature.

Progressive

Creates an image that displays progressively in a web browser. The image will display as a series of overlays, enabling viewers to see a low-resolution version of the image before it downloads completely.

The Progressive option requires use of the Optimized JPEG format.

Note:

Progressive JPEGs require more RAM for viewing, and are not supported by some browsers.

Blur

Specifies the amount of blur to apply to the image. This option applies an effect identical to that of the Gaussian

Blur filter and allows the file to be compressed more, resulting in a smaller file size. A setting of 0.1 to 0.5 is recom mended.

ICC Profile

Preserves the ICC profile of the artwork with the file. ICC profiles are used by some browsers for color correction. This option is only available after you’ve saved an image with an ICC profile—it is not available for unsaved images. For more information, see “Color-managing documents for online viewing” on page 206.

Matte

Specifies a fill color for pixels that were transparent in the original image. Click the Matte color swatch to select a color in the color picker, or select an option from the Matte menu: Eyedropper (to use the color in the eyedropper sample box), White, Black, or Other (to use the color picker).

Pixels that were fully transparent in the original image are filled with the selected color; pixels that were partially transparent in the original image are blended with the selected color.

See also

“About the Save For Web dialog box” on page 452

“To optimize and save web graphics” on page 452

Optimization options for PNG-24 format

Transparency and Matte

Determines how transparent pixels in the image are optimized. (See “To optimize trans parency in GIF and PNG images” on page 458.)

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Interlace

See also

“About the Save For Web dialog box” on page 452

“To optimize and save web graphics” on page 452

Optimization options for SWF format

Optimization settings for SWF

File format menu

Export menu

Read Only

Prohibits users from modifying the exported SWF file.

Export As

Determines how layers are exported. Select AI File To SWF File to export the artwork to a single frame.

Select AI Layers To SWF Frames to export the artwork on each layer to a separate SWF frame, creating an animated

SWF.

Note:

Select AI File To SWF File to preserve layer clipping masks.

Curve Quality

Specifies the accuracy of the bezier curves. A low number decreases the exported file size with a slight loss of curve quality. A higher number increases the accuracy of the bezier curve reproduction, but results in a larger file size.

Frame Rate

Specifies the rate at which the animation will be played in a Macromedia Flash viewer. (This option is only available for AI Layers To SWF Frames.)

Loop

Causes the animation to loop continuously, rather than play once and then stop, when played in a Macromedia

Flash viewer. (This option is only available for AI Layers To SWF Frames.)

Preserve Appearance

Expands strokes into stroke-shaped fills and flattens any blending modes and transparency that aren’t supported by the SWF format.

Preserve Editability Where Possible

Converts strokes to SWF strokes, and approximates or ignores transparency that isn’t supported by the SWF format.

Note:

SWF format only supports object-level opacity.

Use the Export command instead of the Save For Web command to maintain your artwork’s stacking order by exporting each layer to a separate SWF file. You can then import the exported SWF files into Macromedia Flash simultaneously.

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See also

“About Flash graphics” on page 450

“About the Save For Web dialog box” on page 452

“To optimize and save web graphics” on page 452

Optimization options for SVG format

Optimization settings for SVG

File format menu

DTD menu

Font Subsetting menu

Image Location menu

CSS Properties menu

Font Type menu

Encoding menu

Compressed

Creates a Compressed SVG (SVGZ) file.

DTD

Specifies the DTD (Document Type Definition) for the exported file.

•

SVG 1.0 and SVG 1.1

Suitable for SVG files that will be viewed on a desktop computer. SVG 1.1 is the full version of the SVG specification, of which SVG Tiny 1.1, SVG Tiny 1.1 Plus, and SVG Basic 1.1 are subsets.

For additional information on SVG profiles, see the SVG specification on the World Wide Web Consortium (W3C) website ( www.w3.org

•

SVG Basic 1.1

•

SVG Tiny 1.1 and SVG Tiny 1.1 Plus

Decimals

Determines the precision of vector data in the SVG file. You can set a value of 1 to 7 decimal places. A high value results in a larger file size and increased image quality.

Font Subsetting

Controls which glyphs are embedded from the SVG file. Select None from the Subsetting menu if you can rely on the necessary fonts being installed on end-user systems. Select Only Glyphs Used to only include glyphs for text that exists in the current artwork. The other values (Common English, Common English + Glyphs

Used, Common Roman, Common Roman + Glyphs Used, All Glyphs) are useful when the textual content of the

SVG file is dynamic (such as server-generated text or user-interactive text).

Font Type

Specifies how fonts are exported.

•

Adobe CEF

Uses font hinting for better rendering of small fonts. This font type is supported by the Adobe SVG

Viewer but may not be supported by other SVG viewers.

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•

SVG

Does not use font hinting. This font type is supported by all SVG viewers.

•

Convert To Outlines

Converts type to vector paths. Use this option to preserve the visual appearance of type in all

SVG Viewers.

Image Location

Specifies whether to embed or link to images. Embedding images increases file size but ensures that rasterized images will always be available.

CSS Properties

Determines how CSS style attributes are saved in the SVG code. The default method, Presentation

Choose this method if the SVG code will be used in transformations—for example, transformations using Extensible

Stylesheet Language Transformation (XSLT). The Entity References method results in faster rendering times and reduced SVG file size. The Style Element method is used when sharing files with HTML documents. By selecting

Style Element, you can then modify the SVG file to move a style element into an external stylesheet file that is also referenced by the HTML file—however, the Style Element option also results in slower rendering speeds.

Encoding

UTF-16 encoding do not preserve file metadata.

See also

“About SVG” on page 447

“About the Save For Web dialog box” on page 452

“To optimize and save web graphics” on page 452

Optimization options for WBMP format

The Dithering Method and Dither options determine the method and amount of application dithering. For optimal compression, use the lowest percentage of dither that provides the detail you require.

You can select one of the following dithering methods:

No Dither

Applies no dithering at all and gives straight black and white pixels.

Diffusion

Applies a random pattern that is usually less noticeable than Pattern dither. The dither effects are diffused across adjacent pixels. If you select this algorithm, specify a Dither percentage to control the amount of dithering that is applied to the image.

Note:

Diffusion dither may cause detectable seams to appear across slice boundaries. Linking slices diffuses the dither pattern across all linked slices, and eliminates the seams.

Pattern

Applies a halftone-like square pattern to determine the value of pixels.

Noise

Applies a random pattern similar to the Diffusion dithering, but without diffusing the pattern across adjacent pixels. No seams appear with the Noise algorithm.

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Output settings for web graphics

Output settings control how HTML files are formatted, how files and slices are named, and how background images are handled when you save an optimized image. To view output settings, select Edit Output Settings from the

Optimize menu (to the right of the Settings menu) in the Save For Web dialog box. Alternatively, select Other from the Settings pop-up menu in the Save Optimized As dialog box when you save an optimized image.

The Output Settings dialog box contains five sets of options: HTML, Slices, Image Maps, Background, and Saving

Files. To switch to a different set of options, use the menu below the Settings menu.

You can save your output settings and apply them to other files. Output settings that are saved to the Presets > Save

For Web Settings > Output Settings folder in the Illustrator application folder are automatically listed in the Settings menu. To load settings that are stored outside the Output Settings folder, click Load.

See also

“About the Save For Web dialog box” on page 452

“To optimize and save web graphics” on page 452

HTML output settings

You can set the following options in the HTML options in the Output Settings dialog box:

Tags Case

Specifies the capitalization for tags.

Attribute Case

Specifies the capitalization for attributes.

Setting tags and attributes to all uppercase helps the code stand out in the HTML source code.

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.

Include Comments

Adds explanatory comments to the HTML code.

Always Quote Attributes

Places quotation marks around all tag attributes. Placing quotation marks around attributes is required for compatibility with certain early browsers and for strict HTML compliance. However, always quoting attributes is not recommended. Quotation marks are used when necessary to comply with most browsers, even if this option is deselected.

Always Add Alt Attribute

Adds an Alt attribute to the HTML code for each web image to comply with government web accessibility standards.

Close All Tags

Adds an end tag to all HTML tags in the file for XHTML compliance.

Include Zero Margins On Body Tag

Eliminates the default page margins that are inserted by some browsers. Adds marginwidth, marginheight, leftmargin, and topmargin tags with values of zero to the body tag.

Included GoLive Interoperability Code

Reformats JavaScript code so that rollovers are fully editable in Adobe

GoLive. (Also creates an SVG file for every slice for the GoLive Save For Web feature to use during optimization.)

You don’t need to select this option if you plan to edit rollovers in more recent versions of GoLive.

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See also

“Output settings for web graphics” on page 464

“To optimize and save web graphics” on page 452

Slices output settings

You can set the following options in the Slices options in the Output Settings dialog box:

Generate Table

Controls the layout of slices using an HTML table, rather than a Cascading Style Sheet.

Empty Cells

Specifies how empty slices are converted to table cells. Select GIF, IMG W&H to use a one-pixel GIF with width and height values specified in the IMG tag. Select GIF, TD W&H to use a one-pixel GIF with width and height values specified by the table cell (TD tag). Select NoWrap, TD W&H to place a nonstandard NoWrap attribute on the table data and also place width and height values specified on the TD tags.

TD W&H

Specifies when to include width and height attributes for table data: Always, Never, or Auto (the recom mended setting).

Spacer Cells

Specifies when to add one row and one column of empty spacer cells around the generated table:

Always, Never, or Auto (the recommended setting). Adding spacer cells is necessary with table layouts in which slice boundaries do not align, to prevent the table from breaking apart in some browsers.

Generate CSS

Controls the layout of slices using a Cascading Style Sheet, rather than an HTML table.

Referenced

Specifies how slice positions are referenced in the HTML file when using CSS:

•

By ID

Positions each slice using styles that are referenced by a unique ID.

•

Inline

Includes style elements in the declaration of the block element <DIV> tag.

•

By Class

Positions each slice using classes that are referenced by a unique ID.

Default Slice Naming

Choose elements from the pop-up menus or enter text into the boxes to be combined into the default names for all user slices. Elements include document name, the word slice, numbers or letters designating slices or rollover states, slice creation date, punctuation, or none.

See also

“Output settings for web graphics” on page 464

“To optimize and save web graphics” on page 452

Image Maps output settings

You can set the following options in the Image Maps set of the Output Settings dialog box:

Type

Specifies what type of image map is created:

•

Client-Side

Includes all required code for the image map in the image’s HTML file.

•

NCSA Server-Side

Creates a separate .map file in addition to the HTML file, using NCSA specifications.

•

CERN Server-Side

Creates a separate .map file in addition to the HTML file, using CERN specifications.

•

Client & NCSA Server-Side

fications.

Creates both a client-side and server-side compatible image map, using NCSA speci

•

Client & CERN Server-Side

fications.

Creates both a client-side and server-side compatible image map, using CERN speci

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Note:

Contact your Internet service provider to find out whether to use NCSA or CERN specifications for server-side image maps.

Placement

Specifies the location of the image map declaration (the <MAP> tag) in the HTML file:

•

Top

Places the image map declaration at the top of the HTML body section.

•

Body

Places the image map declaration above the <IMG SRC> tag for the associated slice.

•

Bottom

Places the image map declaration at the bottom of the HTML body section.

See also

“Output settings for web graphics” on page 464

“To optimize and save web graphics” on page 452

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. The file you specify will be tiled behind the optimized image on the web page.

BG Color

Click the Color box, and select a background color using the color picker, or select an option from the pop up menu.

See also

“Output settings for web graphics” on page 464

“To optimize and save web graphics” on page 452

Saving Files output settings

You set the following options in the Saving Files set of the Output Settings dialog box:

File Naming

Choose elements from the pop-up menus or enter text into the boxes to be combined into the default names for all files. Elements include document name, slice name, rollover state, trigger slice, file creation date, slice number, punctuation, and file extension. Some options are relevant only if the file contains slices or rollover states.

The text boxes let you change the order and formatting of the filename parts (for example, letting you indicate rollover state by an abbreviation instead of the full word).

Filename Compatibility

Select one or multiple options to make the filename compatible with Windows (permits longer filenames), Macintosh, and UNIX operating systems.

Put Images In Folder

Specifies a folder name where optimized images are saved (available only with documents containing multiple slices).

Copy Background Image When Saving

Preserves a background image that has been specified in the Background preferences set.

Include Copyright

Includes copyright information with the image.

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Include XMP

Includes any metadata file information that was added to the document. Metadata is supported by GIF,

JPEG, and PNG file formats.

See also

“Output settings for web graphics” on page 464

“To optimize and save web graphics” on page 452

“To add metadata to a file” on page 358

Chapter 17: Printing

Basic printing tasks

To print a composite of artwork

A composite is a single-page version of artwork that corresponds to what you see in the illustration window—in other words, a straightforward print job. Composites are also useful for proofing the overall page design, verifying image resolution, and identifying problems that may occur on an imagesetter (such as PostScript errors).

Choose File > Print.

Select a printer from the Printer menu. To print to a file instead of a printer, select Adobe PostScript® File or Adobe

PDF.

Select Output on the left side of the Print dialog box, and make sure that Mode is set to Composite.

Set additional printing options. (See “Print dialog box options” on page 469.)

Click Print.

If your document uses layers, you can specify which ones to print. Choose File > Print, and select an option from the

Print Layers menu: Only Visible And Printable Layers, Only Visible Layers, or All Layers.

See also

“Printing gradients, meshes, and color blends” on page 481

“Printing long, complex paths” on page 478

“Printing and exporting transparent artwork” on page 484

To make artwork nonprintable

The Layers palette 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 palette.

•

To prevent artwork from printing, but not from showing on the artboard or exporting, double-click a layer name in the Layers palette. In the Layer Options dialog box, deselect the Print option, and click OK. The layer name changes to italics in the Layers palette.

•

To create artwork that does not print or export, even when visible on the artboard, select Template in the Layer

Options dialog box.

See also

“About the Layers palette” on page 278

468

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Print dialog box options

Each category of options in the Print dialog box—from General options to Summary options—is organized to guide you through the process of printing your document. To display a set of options, select the set name on the left side of the dialog box.

General

Set the page size and orientation, specify how many pages to print, scale the artwork, and choose which layers to print.

Setup

Crop the artwork, change the placement of artwork on the page, and specify how to print artwork that doesn’t fit on a single page.

Marks & Bleed

Select printer’s marks and create a bleed.

Output

Create color separations.

Graphics

Set printing options for paths, fonts, PostScript files, gradients, meshes, and blends.

Color Management

Select a color profile and rendering intent for printing.

Advanced

Control the flattening (rasterization) of vector artwork during printing.

Summary

View and save a summary of print settings.

Printing color separations

About color separations

To reproduce color and continuous-tone images, printers usually separate artwork into four plates (called

process colors

)—one plate for each of the cyan, magenta, yellow, and black portions of the image. You can also include custom inks (called

spot colors

). In this case, a separate plate is created for each spot color. When inked with the appropriate color and printed in register with one another, these colors combine to reproduce the original artwork.

The process of dividing the image into two or more colors is called

color separating

, and the films from which the plates are created are called the

separations

Composite image printed on a color laser printer compared to four-color separations printed on an imagesetter.

To produce high-quality separations, you should work closely with the print shop that will produce your separations, consulting its experts before beginning each job and during the process.

See also

“About process colors” on page 190

“About spot colors” on page 191

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Preparing artwork for color separating

Before you print color separations from Illustrator, it’s a good idea to perform the following prepress tasks:

•

Set up color management, including calibrating your monitor and selecting an Illustrator Color Setting.

•

Soft-proof how color will appear on the intended output device.

•

If the document is in RGB mode, choose File > Document Color Mode > CMYK Color to convert it to CMYK

Mode.

•

If your artwork contains gradients, meshes, and color blends, optimize them so that they print smoothly (without discrete bands of color).

•

If your artwork contains opaque, overlapping colors, set up overprinting and trapping.

•

If your artwork contains areas of transparent, overlapping colors, preview which areas will be affected by flattening and note which flattening options you want to use.

See also

“Printing and exporting transparent artwork” on page 484

“About color management in Adobe applications” on page 200

To print color separations

Choose File > Print.

Select a printer and PPD file. To print to a file instead of a printer, select Adobe PostScript® File or Adobe PDF.

Select Output on the left side of the Print dialog box.

For Mode, select either Separations (Host-Based) or In-RIP Separations. (See “Color separation modes” on page 471.)

Specify an emulsion, image exposure, and printer resolution for the separations. (See “Emulsion and image exposure” on page 471 and “Printer resolution and screen frequency” on page 472.)

Set options for the color plates you want to separate:

•

To disable printing of a color plate, click the printer icon next to the color in the Document Ink Options list.

Click again to restore printing for the color.

•

To convert all spot colors to process colors, so that they are printed as part of the process-color plates rather than on a separate plate, select Convert All Spot Colors To Process.

•

To convert an individual spot color to process colors, click the spot color icon next to the color in the

Document Ink Options list. A four-color process icon appears. Click again to revert the color back to a spot color.

•

To overprint all black ink, select Overprint Black.

•

To change the screen frequency, screen angle, and shape of halftone dots for a plate, double-click the ink name.

Alternatively, click the existing setting in the Document Ink Options list, and make the desired changes. Note however, that the default angles and frequencies are determined by the selected PPD file. Check with your print shop for the preferred frequency and angle before creating your own halftone screens.

If you create a gradient between two spot colors, you should assign different screen angles to those spot colors. This is because if two spot colors have the same screen angle, they will overprint each other.

Set additional options in the Print dialog box. (See “Print dialog box options” on page 469.)

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In particular, you can specify how to position, scale, and crop the artwork; set up printer’s marks and a bleed; and choose flattening settings for transparent artwork.

Click Print.

See also

“To print an object on all plates” on page 471

Color separation modes

Illustrator supports two common PostScript workflows, or modes, for creating color separations. The main difference between the two is where separations are created—at the

host computer

(the system using Illustrator and the printer driver), or at the output device’s RIP (raster image processor).

In the traditional host-based, preseparated workflow, Illustrator creates PostScript data for each of the separations required for the document, and sends that information to the output device.

In the newer RIP-based workflow, a new generation of PostScript RIPs perform color separations, trapping, and even color management at the RIP, leaving the host computer free to perform other tasks. This approach takes less time for Illustrator to generate the file, and minimizes the amount of data transmitted for any given print job. For example, instead of sending PostScript information for four or more pages to print host-based color separations, Illustrator sends the PostScript information for a single composite PostScript file for processing in the RIP.

Emulsion and image exposure

Emulsion

refers to the photosensitive layer on a piece of film or paper.

Up (Right Reading)

means that type in the image is readable (that is, “right reading”) when the photosensitive layer is facing you.

Down (Right Reading)

means that type is readable when the photosensitive layer is facing away from you. Normally, images printed on paper are printed Up (Right Reading), whereas images printed on film are usually printed Down (Right Reading). Check with your print shop to determine which emulsion direction it prefers.

To tell whether you are looking at the emulsion side or the nonemulsion side (also referred to as the

base

), examine the final film under bright light. One side appears shinier than the other. The dull side is the emulsion side; the shiny side is the base.

Image exposure

refers to whether artwork prints as a positive or negative image. Typically, print shops require negative film in the United States and positive film in Europe and Japan. If you are unsure about which image type to use, consult your print shop.

To print an object on all plates

If you want to print an object on all plates in the printing process, including spot-color plates, you can convert it to a

registration color

. Crop area marks and trim marks are automatically assigned registration colors.

Select the object.

In the Swatches palette, click the Registration color swatch , located in the first row of swatches.

To change the on-screen appearance of the registration color from the default black, use the Color palette. The color you specify will be used for representing registration-colored objects on the screen. These objects will always print as gray on composites and as an equal tint of all inks in separations.

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Printer resolution and screen frequency

Printer resolution is measured in the number of ink dots produced per inch (dpi). Most desktop laser printers have a resolution of 600 dpi, and imagesetters have a resolution of 1200 dpi or higher. Inkjet printers produce a micro scopic spray of ink, not actual dots; however, most inkjet printers have an approximate resolution of 300 to 720 dpi.

When printing to a desktop laser printer, but especially to imagesetters, you must also consider screen frequency.

Screen frequency is the number of halftone cells per inch used to print grayscale images or color separations. Also known as screen ruling or line screen, screen frequency is measured in lines per inch (lpi)—or lines of cells per inch in a halftone screen.

A high line-screen ruling (for example, 150 lpi) spaces the dots used to create an image close together to create a finely rendered image on the press; a low screen ruling (60 lpi to 85 lpi) spaces the dots farther apart to create a coarser image. The size of the dots is also determined by the line screen. A high line-screen ruling uses small dots; a low screen ruling uses large dots. The most important factor in choosing a line-screen ruling is the type of printing press your job uses. Ask your print shop how fine a line screen its press can hold, and make your choices accordingly.

The PPD files for high-resolution imagesetters offer a wide range of possible line-screen rulings paired with various imagesetter resolutions. The PPD files for lower-resolution printers typically have only a few choices for line screens, and they are coarser screens of between 53 lpi and 85 lpi. The coarser screens, however, give optimum results on lower-resolution printers. Using a finer screen of 100 lpi, for example, actually decreases the quality of your image when a low-resolution printer is used for final output. That’s because increasing the lpi for a given resolution decreases the number of colors that can be reproduced.

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.

To change the printer resolution and screen frequency

Adobe Illustrator prints fastest and best by using the default printer resolution and screen frequency. However, in some cases, you might want to change the printer resolution and screen frequency—for example, if you draw a very long curved path that won’t print due to a limit-check error, if printing is slow, or if gradients and meshes show banding when printed.

Choose File > Print.

For Printer, select a PostScript printer, Adobe PostScript® File, or Adobe PDF.

Select Output on the left side of the Print dialog box.

For Printer Resolution, select a screen frequency (lpi) and printer resolution (dpi) combination.

Setting up pages for printing

To reposition artwork on the page

The preview image in the Print dialog box shows you where artwork will be printed on the page.

Choose File > Print.

Do one of the following:

•

Drag the artwork in the preview image at the lower left corner of the dialog box.

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•

Select Setup on the left side of the Print dialog box. 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 Page tool. As you drag, the Page tool responds as if you were moving the printable area from its lower left corner. You can move the printable area anywhere on the artboard; however, any part of a page that extends past the printable area boundary is not printed.

To print artwork on multiple pages

If you are printing artwork that cannot fit on a single page, you can

tile

the artwork onto multiple pages.

Choose File > Print.

Select Setup on the left side of the Print dialog box, and select a Tiling option.

Select Tile Full Pages to divide the artboard into as many whole pages as will fit (no partial pages are displayed or printed). Select Tile Imageable Areas to divide the artboard into as many sections as necessary to print all the artwork.

(Optional) If you selected Tile Full Pages, set the Overlap option to specify the amount of overlap between pages.

(Optional) Select General on the left side of the Print dialog box. Specify how many copies to print, how to collate copies, and in which order to print the pages.

To print a range of pages, select Range. Then use numbers separated by a hyphen to indicate an adjacent range, or use a comma to separate nonadjacent pages or ranges.

See also

“About page tiling” on page 37

To change the page size and orientation

Choose File > Print.

Select a page size from the Size menu. The available sizes are determined but the current printer and PPD file. If the PPD file for the printer allows it, you can select Custom to specify a custom page size in the Width and Height text boxes.

Click an Orientation button to set the page direction: Portrait Up to print in portrait orientation, right side up; Landscape Left to print in landscape orientation, rotated to the left; Portrait Down to print in portrait orientation, upside down; or Landscape Right to print in landscape orientation, rotated to the right.

(Optional) Select Transverse to rotate the printed artwork 90˚. To use this option, you must use a PPD that supports transverse printing and custom page sizes.

See also

“About page size and orientation” on page 474

“About PPD files” on page 477

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About page size and orientation

Adobe Illustrator normally uses the default page size defined by the PPD file for the selected printer. However, you can change the media size to any of the sizes listed in the PPD file as well as specify portrait (vertical) or landscape

(horizontal) orientation. The largest page size you can specify depends on the maximum imageable area of your imagesetter.

Note the following when specifying the page size and orientation:

•

If you select a different media size (for example, if you change from US Letter to US Legal), the artwork is reposi tioned in the preview window. This is because the preview window displays the entire imageable area of the selected media; when the media size is changed, the preview window automatically rescales to include the imageable area.

Note:

The imageable area may vary by PPD file, even for the same media size (for example, US Letter), because different printers and imagesetters define the sizes of their imageable areas differently.

•

The default placement of the page on the film or paper depends on the imagesetter used to print the page.

•

Make sure that your media size is large enough to contain your artwork as well as crop marks, registration marks, and other necessary printing information. To conserve imagesetter film or paper, however, select the smallest page size that accommodates your artwork and necessary printing information.

•

If your imagesetter can accommodate the longest side of your imageable area, you can conserve a considerable amount of film or paper by using Transverse or changing the orientation of the printed artwork. Consult the documentation on your specific printer for more information.

See also

“About PPD files” on page 477

“About the artboard” on page 36

To 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. Asymmetric scaling is useful when, for example, you’re printing film for use on a flexographic press: if you know in which direction the plate will be mounted on the press drum, scaling can compensate for the 2% to 3% stretching of the plate that usually occurs. Scaling does not affect the size of the pages in the document, it just changes the scale at which the document prints.

Choose File > Print.

Do one of the following:

•

To prevent scaling, select Do Not Scale.

•

To scale the document automatically to fit to the page, select Fit To Page. The scaling percentage is determined by the imageable area defined by the selected PPD.

•

To activate the Width and Height text boxes, select Custom Scale. Enter percentages from 1 to 1000 for the width or height. Deselect the Constrain Proportions button to change the document width-to-height ratio.

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Cropping artwork for printing

Cropping artwork

By default, Illustrator crops artwork to the boundaries of the artboard. However, you can choose to crop to the edges of the artwork or to a

crop area

that you define. The option you choose sets the position of the printer’s marks on your document and defines the printable boundaries of the artwork. These printable boundaries, called the

print bounding box

, are represented by a dashed line surrounding the artwork in the Print dialog box’s preview window.

(The bounding box is not visible if it’s the same size as the artboard and the media, but it’s still there.)

In addition to specifying how to crop artwork, you can also create and use multiple sets of

crop marks

within your artwork. Crop marks are useful, therefore, when you want to create several sets of marks around objects on a page— for example, when printing a sheet of business cards. Crop marks differ from the crop area in several ways:

•

There is at most one crop area in a document, whereas you can create crop marks for as many objects as you want.

•

The crop area is indicated by a set of visible but non-printing marks, whereas crop marks are printed with regis tration black (so that they print to every separation plate, similar to printer’s marks).

•

Crop marks do not replace trim marks created with the Marks & Bleed options in the Print dialog box or with the

Object > Crop Area > Make command.

To specify how to crop artwork

Choose File > Print.

Select Setup on the left side of the Print dialog box.

For Crop Artwork To, specify whether to crop the artwork to the artboard, the bounding box of all artwork in the document, or to the defined crop area.

If you want to crop artwork to the crop area, you must first define the crop area.

To define the crop area

Draw a rectangle to define the boundaries of where you want the crop area to appear. (It doesn’t matter if the rectangle is filled or stroked.)

If you want the artwork to contain a bleed, make sure that there’s enough artwork beyond the rectangle to accom modate the bleed.

Select the rectangle.

Choose Object > Crop Area > Make.

Any previous crop area is replaced by the new one. If you have selected a rectangle as the border, the crop area replaces the selected rectangle. If no rectangle has been selected, the crop area is placed at the corners of the artboard.

To view the crop area or reset it to its default location of the artboard, choose Select > Deselect and then apply the

Crop Area > Make command.

To eliminate or edit the crop area

❖

Choose Object > Crop Area > Release. The original rectangle reappears with its fill and stroke removed. You can then delete the rectangle, or edit the rectangle and choose Object > Crop Area > Make to reestablish the crop area.

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To create crop marks around an object

Select the object.

Choose Filter > Create > Crop Marks.

To use Japanese-style crop marks

Japanese-style crop marks have double lines, which visually define a default bleed value of 8.5 points (3 millimeters).

Choose Edit > Preferences > General (Windows) or Illustrator > Preferences > General (Mac OS).

Select Use Japanese Crop Marks, and then click OK.

Printer’s marks and bleed

About printer’s marks

When you prepare artwork for printing, a number of marks are needed for the printer device to register the artwork elements precisely and verify correct color. You can add the following kinds of printer’s marks to your artwork:

Trim Marks

Fine (hairline) horizontal and vertical rules that define where the page should be trimmed. Trim marks can also help register (align) one color separation to another.

Registration Marks

Small targets outside the page area for aligning the different separations in a color document.

Color Bars

Small squares of color representing the CMYK inks and tints of gray (in 10% increments). Your service provider uses these marks to adjust ink density on the printing press.

Page Information

Labels the film with the name of the file, the time and date of printout, the line screen used, the screen angle for the separation, and the color of each particular plate. These labels appear at the tops of the images.

A B C

E F

Printer’s marks

Star target (not optional)

Registration mark

Page information

Trim marks

Color bar

Tint bar

To add printer’s marks

Choose File > Print.

Select Marks & Bleed on the left side of the Print dialog box.

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Select the kinds of printer’s marks you want to add. You can also choose between Roman and Japanese-style marks.

(Optional) If you select Trim Marks, specify the width of trim-mark lines and the offset distance between the trim marks and the artwork.

To avoid drawing printer’s marks on a bleed, be sure to enter an Offset value greater than the Bleed value.

See also

“To create crop marks around an object” on page 476

About bleed

Bleed is the amount of artwork that falls outside of the printing bounding box, or outside the crop marks and trim marks. You can include bleed in your artwork as a margin of error—to ensure that the ink is still printed to the edge of the page after the page is trimmed or that an image can be stripped into a keyline in a document. Once you create the artwork that extends into the bleed, you can use Illustrator to specify the extent of the bleed. Increasing the bleed makes Illustrator print more of the artwork that is located beyond the trim marks. The trim marks still define the same size printing bounding box, however.

The size of the bleed you use depends on its purpose. A

press bleed

(that is, an image that bleeds off the edge of the printed sheet) should be at least 18 points. If the bleed is to ensure that an image fits a keyline, it needs to be no more than 2 or 3 points. Your print shop can advise you on the size of the bleed necessary for your particular job.

To add a bleed

Choose File > Print.

Select Marks & Bleed on the left side of the Print dialog box.

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.

The maximum bleed you can set is 72 points; the minimum bleed is 0 points.

PostScript printing

About PPD files

A PPD (PostScript Printer Description) file customizes the behavior of the driver for your specific PostScript printer.

It contains information about the output device, including printer-resident fonts, available media sizes and orien tation, optimized screen frequencies, screen angles, resolution, and color output capabilities.

Illustrator uses the information in the PPD file to determine which PostScript information to send to the printer when printing a document. For example, Illustrator assumes that the fonts listed in your PPD file reside in the printer, so they are not downloaded when you print, unless you explicitly include them.

For best printing results, Adobe recommends that you obtain the latest version of the PPD file for your output device from the manufacturer. Many prepress service providers and commercial printers have PPDs for the imagesetters they use. Be sure to store PPDs in the location specified by the operating system. For details, consult the documen tation for your operating system.

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To change the PPD file

When you print to a PostScript printer, PostScript file, or PDF file, Illustrator automatically uses the default PPD

(PostScript Printer Description) for that device. You can switch to a different one to suit your needs.

Choose File > Print.

Select one of the following from the PPD menu:

•

A PPD in the bottom section of the menu that corresponds to the current output device.

•

Device Independent. This option is only available if you are printing to a PostScript file and are not using a specific

PPD related to a printer.

•

Other. Lets you select a custom PPD, such as one provided by your service bureau for use with the specified printer. The PPD’s file name corresponds to the printer’s or imagesetter’s name and model, and may display a .ppd file extension (depending on how your system is set up). Navigate to the PPD you want, select it, and click Open.

Note:

Certain PPD features commonly found in imagesetter PPDs won’t be accessible from the Illustrator Print dialog box. To set those printer-specific features, click Setup (Windows) or Printer (Mac OS) in the Print dialog box.

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.

Keep the following hints in mind when splitting paths:

•

Illustrator treats split paths in the artwork as separate objects. To change your artwork once paths are split, you must either work with the separate shapes or rejoin the paths to work with the image as a single shape.

•

It’s a good idea to save a copy of your original artwork before splitting paths. That way, you still have the original, unsplit file to work with if needed.

To change the number of line segments used to print vector objects

Curves in artwork are defined by the PostScript interpreter as small straight line segments; the smaller the line segments, the more accurate the curve. As the number of line segments increases, so does the complexity of the curve. Depending on your printer and the amount of memory it has, a curve may be too complex for a PostScript interpreter to rasterize. In this case, a PostScript limit-check error can result, and the curve won’t print.

Choose File > Print.

For Printer, select a PostScript printer, Adobe PostScript® File, or Adobe PDF.

Select Graphics on the left side of the Print dialog box.

Deselect Automatic, and use the Flatness slider to set the accuracy of curves.

A lower setting (toward Quality) creates more, smaller straight line segments, more closely approximating the curve.

A higher setting (toward Speed) results in longer and fewer line segments, creating a less accurate curve, but improving performance.

To split paths for printing

❖

Do any of the following:

•

To split a stroked path, use the Scissors tool .

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•

To split a compound path, choose Object > Compound Paths > Release to remove the compound path. Then break the path into pieces using the Scissors tool, and redefine the pieces as compound paths.

•

To split a mask, choose Object > Clipping Mask > Release to remove the mask. Then break the path into pieces using the Scissors tool, and redefine the pieces as masks.

To rejoin a path after you split it, select all of the split paths that made up the original object, and click the Add To

Shape Area button in the Pathfinder palette. The path is rejoined, with an anchor point placed at each intersection where a split path was reconnected.

See also

“To split a path” on page 164

To control how fonts are downloaded to a printer

Printer-resident fonts

are fonts stored in a printer’s memory or on a hard drive connected to the printer. Type 1 and

TrueType fonts can be stored either on the printer or on your computer; bitmap fonts are stored only on your computer. Illustrator downloads fonts as needed, provided they are installed on your computer’s hard disk.

Choose File > Print.

For Printer, select a PostScript printer, Adobe PostScript® File, or Adobe PDF.

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. TrueType fonts are named according to the PostScript name in the font; however, not all applications can interpret these names. To ensure that TrueType fonts are interpreted correctly, use one of the other font downloading options.

Subset

Downloads only the characters (glyphs) used in the document. Glyphs are downloaded once per page. This option typically results in faster and smaller PostScript files when used with single-page documents, or with short documents without much text.

Complete

Downloads all fonts required for the document at the beginning of the print job. This option typically results in faster and smaller PostScript files when used with multipage documents.

Note:

Some font manufacturers restrict the embedding of font files. Restrictions apply to copying font software. You are required to comply with applicable copyright law and the terms of your license agreement. For font software licensed from Adobe, your license agreement provides that you may take a copy of the font(s) you have used for a particular file to a commercial printer or other service provider, and the service provider may use the font(s) to process your file, provided the service provider has informed you that it has the right to use that particular software. For other font software, please obtain permission from your vendor.

See also

“About fonts” on page 382

To change the PostScript level for printing

When you print to a PostScript or PDF file, Illustrator automatically selects the PostScript level of your output device.

If you want to change the Postscript level or data format for PostScript files, do the following:

Choose File > Print.

For Printer, select Adobe PostScript® File or Adobe PDF.

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Select Graphics on the left side of the Print dialog box.

For PostScript, select the level of compatibility with the interpreters in PostScript output devices.

Level 2 improves the printing speed and output quality of graphics printed on a PostScript Level 2 or greater output device. Level 3 provides the best speed and output quality on a PostScript 3 device.

(Optional) If you chose Adobe PostScript® File as the printer, select a Data Format option to specify how Illustrator sends the image data from your computer to a printer.

Binary exports the image data as binary code, which is more compact than ASCII but may not be compatible with all systems. ASCII exports the image data as ASCII text, which is compatible with older networks and parallel printers and is usually the best choice for graphics used on multiple platforms. It is also usually the best choice for documents used only on Mac OS systems.

Printing with color management

To let your application manage colors when printing

Choose File > Print.

Select Color Management on the left side of the Print dialog box.

For Color Handling, choose Let Illustrator Determine Colors.

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. (See “About color profiles” on page 211.)

(Optional) Set the Rendering Intent option to specify how the application converts colors to the destination color space.

In most cases, it is best to use the default rendering intent. For more information on rendering intents, search in Help.

Click Setup (Windows) or Printer (Mac OS) at the bottom of the Print dialog box to access the operating system print settings.

Access the color management settings for the printer driver by doing one of the following:

•

In Windows, right-click the printer you are using, and select Properties. Then locate the color management settings for the printer driver. For most printer drivers, color management settings are labeled

Color Management

ICM

•

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

Turn off color management for the printer driver.

Every printer driver has different color management options. If it’s not clear how to turn off color management, consult your printer documentation.

Return to the Illustrator Print dialog box, and click Print.

See also

“Printing with color management” on page 209

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To let your printer manage colors when printing

Choose File > Print.

Select a PostScript printer from the Printer menu. To print to a file instead of a printer, select Adobe PostScript®

File or Adobe PDF.

Select Color Management on the left side of the Print dialog box.

For Color Handling, choose Let PostScript® Printer Determine Colors.

(Optional) Set any of the following options. In most cases, it is best to use the default settings.

Rendering Intent

Specifies how the application converts colors to the destination color space. (See “About rendering intents” on page 219.)

Preserve RGB Numbers (for RGB output) or Preserve CMYK Numbers (for CMYK output)

Determines how Illustrator handles colors that do not have a color profile associated with them (for example, imported images without embedded profiles). When this option is selected, Illustrator sends the color numbers directly to the output device.

When this option is deselected, Illustrator first converts the color numbers to the color space of the output device.

Preserving numbers is recommended when you are following a safe CMYK workflow. (See “Using a safe CMYK workflow” on page 204.) Preserving numbers is not recommended for printing RGB documents.

Click Setup (Windows) or Printer (Mac OS) at the bottom of the Print dialog box to access the operating system print settings.

Access the color management settings for the printer driver by doing one of the following:

•

Color Management

ICM

•

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

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.

Return to the Illustrator Print dialog box, and click Print.

See also

“Printing with color management” on page 209

Printing gradients, meshes, and color blends

Files with gradients, meshes, or color blends can be difficult for some printers to print smoothly (without discrete bands of color) or at all. Follow these general guidelines to improve the printed results:

•

Use a blend that changes at least 50% between two or more process-color components.

•

Use shorter blends. The optimum length depends on the colors in your blend, but try to keep blends shorter than

7.5 inches.

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•

Use lighter colors, or make dark blends short. Banding is most likely to occur between very dark colors and white.

•

Use an appropriate line screen that retains 256 levels of gray.

•

If you create a gradient between two spot colors, assign different screen angles to the spot colors when you create color separations. This is because if two spot colors have the same screen angle, they will overprint each other. If you’re not sure what the angles should be, consult your print shop.

•

Print to an output device that supports PostScript® Language Level 3 whenever possible.

•

If you have to print to an output device that supports Postscript Language Level 2, or when printing meshes that include transparency, you can choose to rasterize gradients and meshes during printing. As a result, Illustrator converts gradients and meshes from vector objects to JPEG images.

To rasterize gradients and meshes during printing

Choose File > Print.

Select Graphics on the left side of the Print dialog box, and select Compatible Gradient And Gradient Mesh

Printing.

Important:

The Compatible Gradient And Gradient Mesh Printing option can slow printing on printers that don’t have problems with gradients, so only select this option if you experience printing problems.

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. The following table lists the maximum line-screen setting you can use with printers to maintain all 256 levels of gray:

1524

1693

2000

2400

2540

3000

900

1000

1270

1446

Final Imagesetter

Resolution

300

400

600

106

125

150

159

188

Maximum Line

Screen to Use

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Final Imagesetter

Resolution

3252

3600

4000

Maximum Line

Screen to Use

203

225

250

See also

“Printer resolution and screen frequency” on page 472

“To change the printer resolution and screen frequency” on page 472

To calculate the maximum blend length for gradients

Illustrator calculates the number of steps in a gradient based on the percentage of change between the colors in the gradient. The number of steps, in turn, determines the maximum length of the blend before banding occurs.

Select the Measure tool , and click the beginning point and the endpoint of the gradient.

Note the distance displayed in the Info palette on a piece of paper. This distance represents the length of the gradient or color blend.

Calculate the number of steps in the blend using this formula:

Number of steps = 256 (number of grays) X Percentage change in color

To figure out the percentage change in color, subtract the lower color value from the higher color value. For example, a blend between 20% black and 100% black is an 80%—or 0.8—change in color.

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%.

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. If it is, reduce the length of the gradient or change the colors.

Number of

Steps Adobe

Illustrator

Recommends

Maximum Blend Length

Points

21.6

43.2

64.8

86.4

108.0

129.6

151.2

172.8

194.4

Inches

1.2

1.5

1.8

2.1

2.4

2.7

Cms

.762

1.524

2.286

3.048

3.810

4.572

5.334

6.096

6.858

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200

210

220

230

160

170

180

190

120

130

140

150

Number of

Steps Adobe

Illustrator

Recommends

100

110

240

250

256

Maximum Blend Length

Points

345.6

367.2

388.8

410.4

432.0

453.6

475.2

496.8

216.0

237.6

259.2

280.8

302.4

324.0

518.4

540.0

553.0

Inches Cms

6.0

6.3

6.6

6.9

4.8

5.1

5.4

5.7

7.2

7.5

7.7

3.0

3.3

3.6

3.9

4.2

4.5

12.192

12.954

13.716

14.478

15.240

16.002

16.764

17.526

7.620

8.382

9.144

9.906

10.668

11.430

18.288

19.050

19.507

See also

“About the Document Info palette” on page 359

Printing and saving transparent artwork

Printing and exporting transparent artwork

When you print transparent artwork or export it to a format that does not understand Illustrator’s native trans parency, Illustrator performs a process called

flattening

. During flattening, Illustrator looks for areas where trans parent objects overlap other objects and isolates these areas by dividing the artwork into components. Illustrator then analyzes each component to determine if the artwork can be represented using vector data or if the artwork must be rasterized.

Illustrator flattens artwork when you perform any of the following actions:

•

Print a file that contains transparency.

•

Save a file that contains transparency in a legacy format such as native Illustrator 8 and earlier, Illustrator 8 EPS and earlier, or PDF 1.3 format. (For the Illustrator and Illustrator EPS formats, you can choose to discard trans parency rather than flatten it.)

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•

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. This command lets you preview how artwork will look when exported in SWF.

For more information on creating and printing transparency, see the Transparency white paper in the Adobe

Technical Info/White Papers folder on the Illustrator CD. You can also find more information on printing and flattening files with transparency in the Adobe Illustrator User to User forum. This is a public forum that offers a wealth of tips and answers to frequently asked questions, and can be found at www.adobe.com/support/forums.

File formats that retain transparency

When you save an Illustrator file in certain formats, the native transparency information is retained. For example, when you save a file in Illustrator CS EPS format, the file contains both native Illustrator data and EPS data. When you reopen the file in Illustrator, the native (unflattened) data is read. When you place the file into another appli cation, the EPS (flattened) data is read.

Note:

Adobe InDesign can place Illustrator’s native and PDF 1.4 files with transparency intact and unflattened. For best results retaining transparency without flattening using PDF with InDesign, save your files as PDF 1.4 rather than PDF

1.3 or PDF 1.5.

If possible, keep your file in a format in which native transparency data is stored, allowing you to make edits as necessary.

File Format Extension Editable

Transpar ency

Flattened

Data

AI9 and later .ai

AI9 EPS and later

.eps

AI8 EPS .eps

PDF 1.4 and

PDF 1.5

PDF 1.3

.pdf

Transparency is editable only when opened in Adobe

Illustrator 9 and later.

Spot colors are not preserved when the file contains trans parency and you choose Preserve Appearance.

Saved when Preserve Illustrator Editing Capabilities is selected.

To set transparency flattening options for printing

Choose File > Print.

Select Advanced on the left side of the Print dialog box.

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Select a flattening preset from the Preset menu, or click Custom to set specific flattening options. (See “Trans parency flattening options” on page 486.)

If the artwork contains overprinted objects that interact with transparent objects, select an option from the

Overprints menu. You can preserve, simulate, or discard overprints.

Note:

If the artwork does not contain transparency, the document will not be flattened and the flattening settings are not relevant. Use the Flattener Preview palette to determine which areas of the artwork contain transparency.

Transparency flattening options

You can set the following options in Transparency Flattener Preset Options dialog box, the Flatten Transparency dialog box, and the Flattener Preview palette.

Name

Specifies the name of the preset. Depending on the dialog box, you can type a name in the Name text box or accept the default. You can enter the name of an existing preset to edit that preset. However, you can’t edit the default presets.

Raster/Vector balance

Specifies the amount of rasterization. The higher the setting, the less rasterization is performed on artwork. Select the highest setting to keep as much artwork as possible vector data; select the lowest setting to rasterize all the artwork.

Line Art And Text Resolution

Specifies the resolution for vector objects rasterized as a result of flattening.

Gradient And Mesh Resolution

Specifies the resolution for gradients and mesh objects rasterized as a result of flattening.

In most cases, a value of 300 is sufficient for Line Art And Text Resolution, and a value of 150 is sufficient for

Gradients And Mesh Resolution. However, if small fonts or fine objects will be rasterized or if the output is a highquality print, higher values (600 ppi or more) are necessary. Using very high values is not recommended because it can degrade performance without noticeably improving the quality of the artwork. Note that for both options, the

Flatness setting in the Graphics portion in the Print dialog box affects the precision of intersections when flattening.

Convert All Text To Outlines

Converts all type objects (point type, area type, and path type) to outlines and discards all type glyph information. This option ensures that the width of text stays consistent during flattening. Note that enabling this option will cause small fonts to appear slightly thicker.

Convert All Strokes To Outlines

Converts all strokes to simple filled paths. This option ensures that the width of strokes stays consistent during flattening. Note that enabling this option will cause thin strokes to appear slightly thicker.

Clip Complex Regions

Ensures that the boundaries between vector artwork and rasterized artwork fall along object paths. Selecting this option reduces stitching artifacts that result when part of an object is rasterized while another part of the object remains in vector form. However, selecting this option may result in paths that are too complex for the printer to handle.

Note:

Some print drivers process raster and vector art differently, and this can also result in color stitching. You may be able to minimize stitching problems by disabling some print-driver specific color-management settings. Because these settings vary with each printer, see the documentation that came with your printer.

Select Preserve Alpha Transparency (Flatten Transparency dialog box only)

Preserves the overall opacity of flattened objects. With this option, as when you rasterize artwork using a transparent background, blending modes and overprints are lost but their appearance is retained within the processed artwork, along with the level of alpha transparency. Preserve Alpha Transparency can be useful if you are exporting to SWF or SVG, since both of these formats support alpha transparency.

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Select Preserve Spot Colors And Overprints (Flatten Transparency dialog box only)

Generally preserves spot colors.

It also preserves overprinting for objects that are not involved in transparency. Select this option if you are printing separations and the document contains spot colors and overprinted objects. Deselect this option when saving files for use in page-layout applications. With this option selected, overprinted areas that interact with transparency are flattened, while overprinting in other areas is preserved. The results are unpredictable when the file is output from a page-layout application.

To preview which areas of artwork will be flattened

In the Flattener Preview palette, select the flattening settings you want to use, either by choosing a preset or setting specific options. (See “Transparency flattening options” on page 486.)

If the flattening settings aren’t visible, select Show Options from the palette menu to display them.

If the artwork contains overprinted objects that interact with transparent objects, select an option from the

Overprints menu. You can preserve, simulate, or discard overprints.

Click Refresh. Depending on the complexity of your artwork, it may take a few seconds for the preview image to appear.

From the Highlight menu, select the kind of areas you want to highlight. For example, you can highlight all trans parent objects, all areas that will be affected by flattening, and so on. (See “Highlight options (Flattener Preview palette)” on page 487.)

Preview the areas that will be affected by flattening at the bottom of the palette.

To magnify the preview, click in the preview area. To zoom out, Alt-click (Windows) or Option-click (Mac OS) in the preview area. To pan the preview, hold down the spacebar and drag in the preview area.

See also

“About overprinting” on page 490

Highlight options (Flattener Preview palette)

None (Color Preview)

Shows a color preview of the artwork without highlighting anything. This option is automat ically chosen whenever any other choice in the Highlight menu is invalid because you’ve changed the artwork or transparency flattening settings.

Rasterized Complex Regions

Highlights the areas that will be rasterized for performance reasons (as determined by the Rasters/Vectors slider). Keep in mind that the boundary of the highlight area has a higher probability of producing stitching problems (depending on the print-driver settings and the rasterization resolution). Select the

Clip Complex Regions option to minimize stitching problems.

Transparent Objects

Highlights the objects that are sources of transparency, such as objects with partial opacity

(including images with alpha channels), objects with blending modes, and objects with opacity masks. In addition, graphic styles and effects may contain transparency, and overprinted objects may be treated as sources of trans parency if the overprint needs to be flattened.

All Affected Objects

Highlights all objects that are involved in transparency, including transparent objects and objects that are overlapped by transparent objects. The highlighted objects will be affected by the flattening process— their strokes or patterns will be expanded, portions of them may get rasterized, and so on.

Affected Linked EPS Files

Highlights all linked EPS files that are affected by transparency.

Expanded Patterns

Highlights all patterns that will be expanded because they are involved in transparency.

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Outlined Strokes

Highlights all strokes that will be outlined because they are involved in transparency or because the Convert All Strokes To Outlines option is selected.

Outlined Text

Highlights all text that will be outlined because it is involved in transparency or because the Convert

All Text To Outlines option is selected. In the final output, outlined strokes and text may appear slightly different from native ones, especially very thin strokes and very small text. However, the Flattener Preview palette does not highlight this altered appearance.

All Rasterized Regions

Highlights objects and intersections of objects that will be rasterized because there is no other way of representing them in PostScript or because they are more complex than the threshold specified by the

Rasters/Vectors slider. For example, the intersection of two transparent gradients will always be rasterized, even when the Rasters/Vectors value is 100. Note that this option takes longer to process than the others. The preview only highlights images that are resampled during flattening (not objects such as opaque images that do not interact with transparent objects).

About the Flattener Preview palette

You use the preview options in the Flattener Preview palette to highlight the areas affected by flattening artwork. You can use this information to adjust the flattening options, and even use the palette to save flattener presets. To display the Flattener Preview palette, choose Window > Flattener Preview.

Flattener Preview palette

Palette menu

Refresh button

Highlight menu

Overprint menu

Transparency flattening settings

Preview area

You can control the speed and quality of the preview image by selecting an option from the palette menu. Select

Quick Preview to compute the quickest preview; select Detailed Preview to add the option All Rasterized Regions to the Highlight pop-up menu (this option is more performance-intensive to compute).

Keep in mind that the Flattener Preview palette is not intended for precise previewing of spot colors, overprints, blending modes, and image resolution. Use Overprint Preview mode in Illustrator to preview spot colors, overprints, and blending modes as they will appear when output.

See also

“Transparency flattening options” on page 486

“Highlight options (Flattener Preview palette)” on page 487

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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 Adobe Illustrator, PDF 1.3, and EPS formats, and copying to the Clipboard. These settings also control how flattening occurs when exporting to formats that don’t support transparency.

Illustrator includes three predefined transparency flattener presets. The settings of each are designed to match the quality and speed of the flattening with an appropriate resolution for rasterized transparent areas, depending on the document’s intended use:

•

High Resolution is for final press output, and for high-quality proofs such as separations-based color proofs.

•

Medium Resolution is for desktop proofs and print-on-demand documents that will be printed on PostScript color printers.

•

Low Resolution is for quick proofs that will be printed on black-and-white desktop printers.

To create or edit transparency flattener presets

Choose Edit > Transparency Flattener Presets.

Do one of the following:

•

To create a new preset, click New. If you want to base the new preset on an existing preset, select that preset first.

•

To edit an existing preset, select the preset and click Edit. Note that you can’t edit the default presets that come with Illustrator.

Set flattening options. (See “Transparency flattening options” on page 486.)

Click OK to return to the Transparency Flattener Presets dialog box, and click OK again.

The resulting presets are saved in the Adobe Illustrator CS Settings folder on your computer.

To delete a custom preset, select it and click Delete. You cannot delete the default presets.

To export and import transparency flattener presets

You can export and import transparency flattener presets in order to share them with your service providers, your clients, or others in your workgroup.

Choose Edit > Transparency Flattener Presets.

Do one of the following:

•

To export presets, select one or more presets in the list and click Export. Specify a name and location, and then click Save.

Consider saving the preset outside of the Illustrator preferences folder. That way, it won’t be lost if you delete your preferences.

•

To import presets, click Import. Locate and select the file containing the preset you want to load, and then click

Open.

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To flatten transparency for individual objects

The Flatten Transparency command lets you see what your artwork will look like when flattened. For instance, you might use this command before saving the file in SWF (Flash) format or if you are having problems printing legacy art where transparency may be the culprit.

Select the object.

Choose Object > Flatten Transparency.

Select the flattening settings you want to use, either by choosing a preset or setting specific options. (See “Trans parency flattening options” on page 486.)

Click OK.

To save the flattening settings for use with other objects and documents in the current session, click Save Preset. If you want to create a permanent preset, choose Edit > Transparency Flattener Presets instead.

To rasterize all artwork during printing

When you print to a low-resolution or non-PostScript printer, such as a desktop inkjet printer, you can choose to rasterize all artwork during printing. This option is useful when printing documents that contain complex objects

(such as objects with smooth shading or gradients) because it reduces the possibility of errors.

Choose File > Print.

Select Advanced on the left side of the Print dialog box.

Select Print As Bitmap.

This option is only available if the printer driver for the selected printer supports bitmap 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.

You may want to overprint in the following situations:

•

Overprint black ink to aid in registration. Because black ink is opaque (and usually the last to be printed), it doesn’t look much different when printed over a color as opposed to a white background. Overprinting black can prevent gaps from appearing between black and colored areas of your artwork.

•

Overprint when the artwork does not share common ink colors and you want to create a trap or overlaid ink effects. When overprinting process color mixes or custom colors that do not share common ink colors, the overprint color is added to the background color. For example, if you print a fill of 100% magenta over a fill of

100% cyan, the overlapping fills appear violet, not magenta.

After you set overprinting options, you should use the Overprint Preview mode (View > Overprint Preview) to see an approximation of how the overprinting colors will print. You should also carefully check overprinted colors on separated artwork using integral proofs (where each separation is shown in register on a single piece of paper) or overlay proofs (where the separations are shown in register on separate plastic sheets stacked on top of each other).

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Colors knocked out (by default) and with overprinting

To set up overprinting

Select the object or objects that you want to overprint.

In the Attributes palette, select Overprint Fill, Overprint Stroke, or both.

If you use the Overprint option on a 100% black stroke or fill, the black ink may not be opaque enough to prevent the underlying ink colors from showing through. To eliminate the show-through problem, use a four-color (rich) black instead of a 100% black. Consult with your print shop about the exact percentages of color to add to the black.

To overprint black

To overprint all black in your artwork, select the Overprint Black option in the Print dialog box when you create color separations. This option works on all objects that have black applied through the K color channel. However, it does not work for objects that appear black because of their transparency settings or graphic styles.

You can also use the Overprint Black filter to set up overprinting for objects that contain a specific percentage of black. To use the Overprint Black filter:

Select all the objects you might want to overprint.

Choose Filter > Colors > Overprint Black.

Enter the percentage of black you want to overprint. All objects with the specified percentage will overprint.

Select Fill, Stroke, or both to specify how to apply the overprinting.

To overprint process colors that include cyan, magenta, or yellow as well as the specified percentage of black, select

Include Blacks with CMY.

To overprint spot colors whose process equivalents include the specified percentage of black, select Include Spot

Blacks. If you are overprinting a spot color that contains process colors as well as the specified percentage of black, select both Include Blacks with CMY and Include Spot Blacks.

To remove overprinting from objects that contain a specific percentage of black, select Remove Black instead of Add

Black in the Overprint Black dialog box.

To simulate or discard overprinting

In most cases, only separation devices support overprinting. When you print to a composite, or when your artwork contains overprinted objects that interact with transparency objects, you choose to simulate or discard overprinting.

Choose File > Print.

Select Advanced on the left side of the Print dialog box.

Select Simulate or Discard from the Overprints menu.

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Trapping

About trapping

Where colors printed from separate plates overlap or adjoin one another, press misregistration can cause gaps between colors on the final output. To compensate for potential gaps between colors in artwork, print shops use a technique called

trapping

to create a small area of overlap (called a

trap

) between two adjoining colors. You can use a separate, dedicated trapping program to create traps automatically, or you can use Illustrator to create traps manually.

There are two types of trap: a

spread

, in which a lighter object overlaps a darker background and seems to expand into the background; and a

choke

, in which a lighter background overlaps a darker object that falls within the background and seems to squeeze or reduce the object.

Spread (object overlaps background) compared to choke (background overlaps object)

When overlapping painted objects share a common color, trapping may be unnecessary if the color that is common to both objects creates an automatic trap. For example, if two overlapping objects contain cyan as part of their CMYK values, any gap between them is covered by the cyan content of the object underneath.

Trapping type can present special problems. 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. For example, if you are printing black type on a colored background, simply overprinting the type onto the background may be enough.

Using the Trap command

The Trap command creates traps for simple objects by identifying the lighter-colored artwork—whether it’s the object or the background—and overprinting (trapping) it into the darker artwork. You can apply the Trap command from the Pathfinder palette or as an effect. The advantage of using the Trap effect is that you can alter the trap settings at any time.

A B

C D

What the Trap command does

Area of overprinting

Area of knockout

Background color

Foreground color

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In some cases, the top and bottom objects may have similar color densities so that one color is not obviously darker than the other. In this case, the Trap command determines the trap based on slight differences in color; if the trap specified by the Trap dialog box is not satisfactory, you can use the Reverse Trap option to switch the way in which the Trap command traps the two objects.

See also

“About effects and filters” on page 423

To create a trap

If the document is in RGB mode, choose File > Document Color Mode > CMYK Color to convert it to CMYK

Mode.

Select two or more objects.

Do one of the following:

•

To apply the command directly to the objects, choose Window > Pathfinder, and choose Trap from the palette menu.

•

To apply the command as an effect, choose Effect > Pathfinder >Trap. Select Preview if you want to preview the effect.

Set trap options (see “Trap options” on page 493), and click OK.

See also

“Pathfinder effects” on page 304

“About the Pathfinder palette” on page 302

Trap options

Thickness

Specifies a stroke width between 0.01 and 5000 points. Check with your print shop to determine what value to use.

Height/Width

Specifies the trap on horizontal lines as a percentage of the trap on vertical lines. Specifying different horizontal and vertical trap values lets you compensate for on-press irregularities, such as paper stretch. Contact your 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%.

Height/Width set to 50% (left) compared to 200% (right)

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Tint Reduction

Reduces the tint of the lighter color being trapped; the darker color remains at 100%. This option is useful when trapping two light-colored objects, where the trap line may show through the darker of the two colors, resulting in an unsightly dark border. For example, if you trap a light yellow object into a light blue object, a bright green border is visible where the trap is created. Check with your print shop to find out what percentage of tint is most appropriate given the type of press, inks, paper stock, and so on being used.

Tint reduction value of 100% (trap contains 100% of lighter color) compared to tint reduction value of 50% (trap contains 50% of lighter color)

Traps With Process Color

Converts spot-color traps to equivalent process colors. This option creates an object of the lighter of the spot colors and overprints it.

Reverse Traps

Traps darker colors into lighter colors. This option does not work with rich black—that is, black that contains additional CMY inks.

Precision (as effect only)

Affects how precisely an object's path is calculated. The more precise the calculation, the more accurate the drawing and the more time is required to generate the resulting path.

Remove Redundant Points (as effect only)

Removes unnecessary points.

To create a spread or choke

For more precise control of trapping and for trapping complex objects, you can create the effect of a trap by stroking an object and setting the stroke to overprint.

Select the topmost object of the two objects that must trap into each other.

In the Stroke box in the toolbox or the Color palette, do one of the following:

•

Create a spread by entering the same color values for the Stroke as appear in the Fill box. You can change the stroke’s color values by selecting the stroke and then adjusting its color values in the Color palette. This method enlarges the object by stroking its boundaries with the same color as the object’s fill.

A B

C D

Object stroked with fill color

Overprinted stroke creates spread trap

Fill creates knockout

Area of trap

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 palette); the Stroke and Fill values will differ. This method reduces the darker object by stroking its boundaries with the lighter background color.

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Choose Window > Stroke.

A B

C D

Object stroked with background color

Overprinted stroke creates choke trap

Fill creates knockout

Area of trap

Area of knockout

In the Weight text box, enter a stroke width of between 0.01 and 1000 points. Check with your print shop to determine what value to use.

For example, a stroke weight of 0.6 point creates a trap of 0.3 point. A stroke weight of 2.0 points creates a trap of 1.0

point.

Choose Window > Attributes.

Select Overprint Stroke.

To trap a line

Select the line to be trapped.

In the Stroke box in the toolbox or the Color palette, assign the stroke a color of white.

In the Stroke palette, select the desired line weight.

Copy the line, and choose Edit >Paste In Front. The copy is used to create a trap.

In the Stroke box in the toolbox or the Color palette, stroke the copy with the desired color.

In the Stroke palette, choose a line weight that is wider than the bottom line.

Choose Window > Attributes.

Select Overprint Stroke for the top line.

A B

C D

Copy of stroke used for spread trap

Overprinted top stroke creates spread trap

Bottom stroke creates knockout

Area of knockout

Area of trap

To trap a portion of an object

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.

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Drop shadow with a trap (left) is based on the line drawn where the object and its drop shadow meet (right).

In the Stroke box in the toolbox or the Color palette, select a color value for the Stroke to create either a spread or a choke.

Choose Window > Attributes.

Select Overprint Stroke.

Print presets

About print presets

If you regularly output to different printers or job types, you can automate print jobs by saving all output settings as print presets. Using print presets is a fast, reliable way to print jobs that require consistently accurate settings for many options in the Print dialog box.

You can save and load print presets, making it easy to back them up or to make them available to your service providers, clients, or others in your workgroup. Once you select a print preset, you can view the settings for it in the

Print Presets dialog box.

To create a print preset

❖

Do one of the following:

•

Choose File > Print, adjust print settings, and click Save Preset. Type a name or use the default, and then click OK.

With this method, the preset is saved in the Illustrator preferences file.

•

Choose Edit > Print Presets and click New. In the Print Preset Options dialog box that appears, type a name in the

Print Preset text box or use the default, adjust print settings, and then click OK to return to the Print Presets dialog box. Then click OK again.

If you use the Print Presets dialog box, consider saving the preset outside of the Illustrator preferences folder. That way, it won’t be lost if you ever delete your preferences.

To edit print presets

❖

Do one of the following:

•

Choose File > Print, adjust print settings, and click Save Preset. In the Save Preset dialog box that appears, either type a name in the text box or use the current name. (If the current name is an existing preset, saving overwrites that preset’s settings.) Click OK.

•

Choose Edit > Print Presets, select a preset from the list, and then click Edit. In the Print Preset Options dialog box that appears, adjust print settings and click OK to return to the Print Presets dialog box. Then click OK again.

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You can edit the default preset by choosing Default from the list of presets in the Print dialog box or the Print Presets dialog box.

To delete print presets

Choose Edit > Print Presets.

To delete one or more presets, select the presets from the list and click Delete. Shift-click to select adjacent presets.

Ctrl-click (Windows) or Command-click (Mac OS) to select nonadjacent presets.

To export or import print presets

Choose Edit > Print Presets.

Do one of the following:

•

To export presets, select one or more presets in the list and click Export. Shift-click to select adjacent presets. Ctrl click (Windows) or Command-click (Mac OS) to select nonadjacent presets. Specify a name and location, and then click Save.

•

To import presets, click Import. Locate and click the file containing the presets you want to load, and then click OK.

To use print presets

Choose File > Print.

Choose a print preset from the Print Preset menu. If you like, confirm the printer settings in the Print dialog box.

Click Print.

Chapter 18: Automating tasks

Actions

About actions

action

is a series of tasks that are recorded while using the Illustrator application—menu commands, palette options, tool actions, and so on. When you play an action, Illustrator performs all of the recorded tasks for you.

Illustrator comes with prerecorded actions to assist you in performing common tasks. These actions are installed as a default set in the Actions palette.

When creating new actions, keep in mind the following guidelines:

•

Most, but not all, tasks can be recorded. However, you can insert nonrecordable tasks using commands in the

Actions palette menu.

•

When recording an action, playback results depend on such variables as the current fill and stroke colors, and on file and program settings.

•

Until you specifically save a set of actions, actions are automatically saved in the preferences file. If this preferences file is lost or removed, any unsaved actions you may have created will be lost. Be sure to save your actions to a separate actions file so you can load them later, and to keep them safe.

•

Because Illustrator executes the commands as you record them, it’s a good idea to record a complicated action using a copy of a file, and then play the action on the original.

See also

“To use action sets” on page 502

“Nonrecordable tasks” on page 500

To use the Actions palette

You use the Actions palette to record, play, edit, and delete actions. It also lets you save, load, and replace action sets.

❖

Do one of the following:

•

To display the Actions palette, choose Window > Actions.

•

To expand an action to see its commands, click the triangle to the left of the action name.

•

To collapse an action, click the triangle again.

•

To view just the names of the actions, select Button Mode from the Actions palette menu.

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F G H I J K

Actions palette

Toggles item on or off

Toggles modal control on or off

Set

Action

Recorded command

Stop playing/recording

Begin recording

Play current selection

Create new set

Create new action

Delete selection

See also

“To work with palettes” on page 31

“Keys for the Actions palette” on page 533

To play an action

Some actions require that you make a selection before playing; other actions can be executed on an entire file. For the prerecorded actions that come with Illustrator, actions that require you to make a selection have

(selection)

in their names.

If necessary, select objects on which to play the action.

Do one of the following in the Actions palette:

•

To play a set of actions, select the set name.

•

To play a single action, select the action name.

•

To play only part of an action, select the command from which you want the action to start.

Click the Play Current Selection button, or select Play from the palette menu.

See also

“To change how fast actions play” on page 501

“To play an action on batches of files” on page 503

To create an action

In the Actions palette, click the Create New Action button .

Enter an action name, select an action set, and set additional options:

Function Key

Assigns a keyboard shortcut to the action. You can choose any combination of a function key, the Ctrl key (Windows), or Command key (Mac OS), and the Shift key (for example, Ctrl+Shift+F3). If you assign an action the same shortcut that is used for a command, the shortcut will apply the action rather than the command.

Color

Assigns a color for display in Button mode.

Click Record. The Begin Recording button in the Actions palette turns red.

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Perform the tasks you want to record. Some tasks can’t be recorded directly; however, you can insert most nonre cordable tasks using commands in the Actions palette menu. (See “To insert nonrecordable tasks into actions” on page 500.)

When finished, click the Stop Playing/Recording button .

To guard against mistakes, record the File > Save A Copy command at the beginning of the action before applying other commands.

See also

“To use the Actions palette” on page 498

Nonrecordable tasks

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 palettes, and use of the Selection, Pen, Paintbrush, Pencil, Gradient, Mesh,

Eyedropper, Paint Bucket, and Scissors tools.

To tell which tasks cannot be recorded, watch the Actions palette. If the name of the command or tool doesn’t appear after you perform the task, you may still be able to add the task using commands in the Actions palette menu.

See also

“To use the Actions palette” on page 498

To insert nonrecordable tasks into actions

You can insert nonrecordable tasks into actions in the following ways:

•

To insert a nonrecordable menu command, choose Insert Menu Item from the Actions palette menu. Select the command from its menu, and click OK.

•

To insert a stop in your action so that you can perform a task that cannot be recorded, choose Insert Stop from the Actions palette menu. Type the message you want to appear, select Allow Continue if you want the option to continue the action without stopping, and click OK.

•

To insert a path, select the path, and choose Insert Select Path from the Actions palette menu.

•

To insert selection of an object, enter a name for the object in the Note text box of the Attributes palette before you start recording. (Select Show Note from the Attributes palette menu to display the Note text box.) When you record the action, choose Select Object from the Actions palette menu. Enter the name of the object, and click OK.

•

To record optimization options for multiple slices in the Save For Web dialog box, set the slice optimization options before you start recording the action, then press Alt (Windows) or Option (Mac OS) and click Remember in the Save For Web dialog box. When you record the action, Illustrator will remember the settings.

To insert a nonrecordable task after you create an action, select a item within the action after which you want to insert the task. Then choose the appropriate command from the Actions palette menu.

See also

“To use the Actions palette” on page 498

“Nonrecordable tasks” on page 500

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To change settings when playing an action

By default, Illustrator completes actions using the values specified when you first recorded the action. If you want to change the settings for a command within an action, you can insert a

modal control

. A modal control lets you pause a command to display its dialog box and specify different values. You can also use a modal control to change the settings for a modal tool. (A modal tool is one that requires pressing Enter or Return to apply its effect.)

Make sure that the Actions palette is in list view. (If necessary, deselect Button Mode in the Actions palette menu.)

Do one of the following:

•

To display the dialog box icon, click the column to the left of the command name. Click again to remove the modal control.

•

To turn modal controls on or off for all commands in an action or set, click the column to the left of the action or set name.

See also

“To use the Actions palette” on page 498

To exclude tasks from an action

❖

Do one of the following in the Actions palette:

•

To exclude a single task, click to clear the check mark to the left of the task name. Click again to include the task.

•

To exclude or include all tasks in an action or set, click the check box to the left of the action or set name.

•

To exclude or include all tasks

except

the selected task, Alt-click (Windows) or Option-click (Mac OS) the task.

See also

“To use the Actions palette” on page 498

To change how fast actions play

Sometimes a long, complicated action does not play properly, but it is difficult to tell where the problem occurs. The

Playback Options command gives you three speeds at which to play actions, so that you can watch each command as it is carried out.

Choose Playback Options from the Actions palette menu.

Specify a speed, and click OK:

Accelerated

plays the action at normal speed (the default).

Step By Step

completes each command and redraw the image before going on to the next command in the action.

Pause For _ Seconds

specifies the amount of time Illustrator should pause between carrying out each command in the action.

See also

“To use the Actions palette” on page 498

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To edit actions

❖

You can edit an action in any of the following ways:

•

To rearrange a task within an action, drag the task to its new location in the Actions palette. When the highlighted line appears in the desired position, release the mouse button.

•

To record additional tasks in an action, select the task after which you want to insert the new tasks, and click the

Begin Recording button on the Actions palette. Perform the additional commands. When finished, click the

Stop Playing/Recording button.

•

To record an action again, select the action and choose Record Again from the Actions palette menu. If a modal tool appears, use the tool differently and press Enter or Return to change the tool’s effect, or press Enter or Return to retain the same settings. If a dialog box appears, change the values and click OK to record them, or click Cancel to retain the same values.

•

To record a single task again, select an object of the same type for which you want to rerecord the action. For example, if a task is only available for vector objects, then you must have a vector object selected when you rerecord. In the Actions palette, double-click the command. Enter the new values, and click OK.

•

To change the name, keyboard shortcut, or button color of an action, double-click the action name. Alternatively, select the action and choose Action Options from the Actions palette menu.

•

To duplicate a set, action, or command, select the item and choose Duplicate from the Actions palette menu. Alter natively, drag the action or command to the Create New Action button at the bottom of the Actions palette, or drag a set to the Create New Set button. The copied sets appear at the bottom of the Actions palette. The copied commands or actions appear after the original command or action.

•

To delete a set, action, or command, select the item and click the Delete Selection icon in the Actions palette. Alter natively, drag the selection to the Delete Selection icon, or choose Delete from the Actions palette menu.

•

To delete all actions, choose Clear Actions from the Actions palette menu. Click Yes to delete all the actions.

•

To reset actions to the default set, choose Reset Actions from the Actions palette menu. Click Append to add the set of default actions to the current actions in the Actions palette, or OK to replace the current actions in the

Actions palette with the default set.

See also

“To use the Actions palette” on page 498

To use action sets

You can create and organize sets of task-related actions that can be saved to disk and transferred to other computers.

•

To create a new set of actions, click the Create New Set button at the bottom of the Actions palette. Enter the name of the set, and click OK.

•

To save a set of actions, select a set, and choose Save Actions from the Actions palette menu. Type a name for the set, choose a location, and click Save. The default actions set is saved in the Presets/Actions folder within the

Adobe Illustrator application folder.

Note:

You can save only the entire contents of a set in the Actions palette, not individual actions.

•

To rename a set of actions, double-click the name of the set in the Actions palette.

•

To replace all actions in the Actions palette with a new set, choose Replace Actions from the Actions palette menu.

Select an actions file, and click Open.

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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.

•

To load a set of actions, choose Load Actions from the Actions palette menu. Select the actions file, and click

Open.

Newly loaded actions are added to the existing actions, and appear at the bottom of the Actions palette.

See also

“To use the Actions palette” on page 498

To play an action on batches 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.

Choose Batch from the Actions palette menu.

For Play, select the action you want to play.

For Source, choose the folder on which to play the action, or select Data Sets to play the action on each data set in the current file.

If you select a folder, you can set additional options for playing the action. (See “Batch options” on page 503.)

For Destination, specify what you want to do with the processed files. You can leave the files open without saving the changes (None), save and close the file in their current location (Save And Close), or save the files to a different location (Folder).

Depending on the Destination option you select, you can set additional options for saving the files. (See “Batch options” on page 503.)

Specify how you want Illustrator to handle errors during the batch process. If you select Log Errors To File, click

Save As, and name the error file.

Click OK.

Saving files using the Batch command options always saves the files in the same format as the original files. To create a batch process that saves files in a new format, record the Save As or Save A Copy command, followed by the Close command, as part of your original action. Then choose None for the Destination when setting up the batch process.

To batch-process using multiple actions, create a new action, and record the Batch command for each action you want to use. This technique also lets you process multiple folders in a single batch. To batch-process multiple folders, create aliases within a folder to the other folders you want to process.

See also

“To use the Actions palette” on page 498

“About data sets” on page 508

Batch options

If you select Folder for Source, you can set the following options:

Override Action “Open” Commands

Opens the files from the specified folder and ignores any Open commands recorded as part of the original action.

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Include All Subdirectories

Processes all files and folders within the specified folder.

If the action contains any save or export commands, you can set the following options:

Override Action “Save” Commands

Saves the processed files in the specified destination folder and not to a location recorded in the action. Click Choose to specify the destination folder.

Override Action “Export” Commands

Exports the processed files to the specified destination folder and not to a location recorded in the action. Click Choose to specify the destination folder.

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 file name by taking the original document’s file name, removing any extension, and then appending a three-digit number corresponding to the data set.

File + Data Set Name

Generates the file name by taking the original document’s file name, removing any extension, and then appending an underscore and the name of the data set.

Data Set Name

Generates the file name by taking the name of the data set.

Scripts

About scripts

When you execute a script, your computer performs a sequence of operations. These operations may involve only

Illustrator, or they may involve other applications, such as word-processing, spreadsheet, and database-management programs.

Illustrator supports multiple scripting environments (including Microsoft Visual Basic, AppleScript, and JavaScript).

You can use the standard scripts that come with Illustrator, and you can create your own scripts and add them to the

Scripts submenu.

To use a script

•

To run a script, choose File > Scripts, and select a script from the submenu. Alternatively, choose File > Scripts >

Browse, and navigate to the script you want to execute.

•

To install a script, copy the script to your computer’s hard disk. If you place the script in the Presets/Scripts folder inside the Adobe Illustrator application folder, the script will appear in the File > Scripts submenu. If you place the script in another location on your hard disk, you can execute the script in Illustrator using the File > Scripts >

Browse command.

Note:

If you edit a script while Illustrator is running, you must save your changes for the changes to take effect. If you place a script in the Scripts folder while Illustrator is running, you must relaunch Illustrator for the script to appear in the Scripts menu.

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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. In the past, you had to manually populate the template with data (images, text, and so on). With data-driven graphics, you can use a script referencing a database to generate the web banners for you.

In Illustrator, you can turn any piece of artwork into a template for data-driven graphics. All you need to do is define which objects on the artboard are dynamic (changeable) using

variables

. You use variables to change text strings, linked images, graph data, and the visibility setting of objects in your artwork. In addition, you can create different sets of variable data in order to easily view what your template will look like when it is rendered.

Data-driven graphics are designed for use in collaborative work environments. Following are some examples of how data-driven graphics fit into different job roles:

•

If you’re a designer, creating a template gives you control over the dynamic elements of your design. When you hand your template over for production, you can be sure that only the variable data will change.

•

If you’re a developer, you can code variables and data sets directly into an XML file. The designer can then import the variables and data sets into an Illustrator file to create a design based on your specifications.

•

If you’re responsible for production, you can use scripts within Illustrator, the Batch command, or a web production tool such as Adobe GoLive 6.0 to render the final graphics. You can also use a dynamic imaging server such as Adobe® Graphics Server to further automate the rendering process.

See also

“About data sets” on page 508

“About variable libraries” on page 508

About the Variables palette

You use the Variables palette to work with variables and data sets. The type and name of each variable in the document are listed in the palette. If the variable is bound to an object, then the Objects column displays the name of the bound object as it appears in the Layers palette. To display the Variables palette, choose Window > Variables.

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Variables palette

Data set

Palette menu

Variable type

Variable name

Name of bound object

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The Variables palette uses the following icons to indicate a variable’s type:

•

Visibility variable

•

Text String variable

•

Linked File variable .

•

Graph Data variable .

•

No Type (unbound) variable .

You can sort the rows by clicking items in the header bar: by variable name, object name, or by variable type.

See also

“To work with palettes” on page 31

To 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).

❖

In the Variables palette, do one of the following:

•

To create a Visibility variable, select the objects that you want to show or hide and click the Make Visibility

Dynamic button .

•

To create a Text String variable, select a type object and click the Make Object Dynamic button

•

To create a Linked File variable, select a linked file and click the Make Object Dynamic button.

•

To create a Graph Data variable, select a graph object and click the Make Object Dynamic button.

•

To create a variable without binding it to an object, click the New Variable button . To subsequently bind an object to the variable, select the object and the variable, and click the Make Visibility Dynamic button or the Make

Object Dynamic button.

Note:

The Variable palette menu also provides commands for creating variables.

See also

“About the Variables palette” on page 505

To edit variables

•

To change the name and type of a variable, double-click the variable in the Variables palette. Alternatively, select the variable in the Variables palette, and choose Variable Options from the Variables palette menu.

•

To unbind a variable, click the Unbind Variable button in the Variables palette, or choose Unbind Variable from the Variables palette menu. Unbinding a variable breaks the link between a variable and its object.

•

To lock and unlock all variables in a document, click the Lock/Unlock Variables button or in the Variables palette. Locking variables prevents you from creating variables, deleting variables, and editing variable options.

However, you can bind and unbind objects to locked variables.

See also

“About the Variables palette” on page 505

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To delete variables

Deleting a variable removes it from the Variables palette. If you delete a variable that is bound to an object, the object becomes static (unless the object is also bound to a variable of a different type).

Select a variable you want to delete.

Do one of the following:

•

Click the Delete Variable icon in the Variables palette, or choose Delete Variable from the Variables palette menu.

•

To delete the variable without confirmation, drag it to the Delete Variable icon.

See also

“About the Variables palette” on page 505

To edit dynamic objects

You change the data associated with a variable by editing the object to which it is bound. For example, if you’re working with a Visibility variable, you change the object’s state of visibility in the Layers palette. Editing dynamic objects lets you create multiple data sets for use in the template.

Select a dynamic object on the artboard, or do one of the following to automatically select a dynamic object:

•

Alt-click (Windows) or Option-click (Mac OS) a variable in the Variables palette.

•

Select a variable in the Variables palette, and choose Select Bound Object from the Variables palette menu.

•

To select all dynamic objects, choose Select All Bound Objects from the Variables palette menu.

Edit the data associated with the object as follows:

•

For text, edit the text string on the artboard.

•

For linked files, replace the image using the Links palette or the File > Place command.

•

For graphs, edit the data in the Graph Data palette.

•

For all objects with dynamic visibility, change the state of visibility for the object in the Layers palette.

See also

“To use the Links palette” on page 326

“Entering graph data” on page 512

“About the Layers palette” on page 278

“About the Variables palette” on page 505

Identifying dynamic objects using XML IDs

The Variables palette displays the names of dynamic objects as they appear in the Layers palette. 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. To view, edit, and export object names using XML IDs, choose Edit > Preferences > Units & Display Performance (Windows) or Illustrator >

Preferences > Units & Display Performance (Mac OS), and select XML ID.

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See also

“About the Variables palette” on page 505

About data sets

data set

is a collection of variables and associated data. When you create a data set, you capture a snapshot of the dynamic data that is currently displayed on the artboard. You can switch between data sets to upload different data into your template.

The name of the current data set is displayed at the top of the Variables palette. If you change the value of a variable so that the artboard no longer reflects the data stored in the set, the name of the data set is displayed in italic type.

You can then create a new data set, or you can update the data set to overwrite the saved data with the new data.

See also

“About data-driven graphics” on page 505

“To play an action on batches of files” on page 503

“About the Variables palette” on page 505

To use data sets

•

To create a new data set, click the Capture Data Set button

Capture Data Set from the Variables palette menu.

in the Variables palette. Alternatively, choose

•

To switch between data sets, select a data set from the Data Set list in the Variables palette. Alternatively, click the

Previous Data Set button or the Next Data Set button .

•

To apply the data on the artboard to the current data set, choose Update Data Set from the Variables palette menu.

•

To rename a data set, edit the text directly in the Data Set text box. Alternatively, double-click the words

Data Set:

(to the left of the Data Set text box), enter a new name, and click OK.

•

To delete a data set, choose Delete Data Set from the Variables palette menu.

See also

“About the Variables palette” on page 505

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. Likewise, if the developer needs to add functionality to the web page, the design may need to be updated.

Variable libraries enable designers and developers to coordinate their work through an XML file. For example, a designer can create a template for business cards in Illustrator and export variable data as an XML file. The developer can then use the XML file to link variables and data sets to a database and write a script to render the final artwork.

This workflow can also be reversed, where the developer codes the variable and data set names in an XML file, and the designer imports the variable libraries into an Illustrator document.

To import variables into Illustrator from an XML file, choose Load Variable Library from the Variables palette menu.

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To export variables from Illustrator to an XML file, choose Save Variable Library from the Variables palette menu.

See also

“About data-driven graphics” on page 505

“About data sets” on page 508

“About the Variables palette” on page 505

To save a template for data-driven graphics

When you define variables in an Illustrator document, you are creating a template for data-driven graphics. You can save the template in SVG format for use with other Adobe products, such as Adobe Graphics Server and Adobe

GoLive. For example, a GoLive user can place an SVG template in a page layout, bind its variables to a database using dynamic links, and then use Adobe Graphics Server to generate iterations of the artwork. Likewise, a developer working with Adobe Graphics Server can bind the variables in the SVG file directly to a database or another data source.

Choose File > Save As, enter a file name, select SVG as the file format, and click Save.

Click More Options, and select Include Adobe Graphics Server Data. This option includes all information needed for variable substitution in the SVG file.

Click OK.

Chapter 19: Graphs

Creating graphs

Graph tool gallery

Illustrator provides nine graph tools, each one for creating a different type of graph. The type of graph you choose depends on the information you want to communicate.

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The Column Graph tool (J) creates graphs that compare values using vertical columns.

The Stacked Column graph tool creates graphs that are similar to column graphs, but stacks the columns on top of one another, instead of side by side. This graph type is useful for showing the relationship of parts to the total.

The Bar Graph tool creates graphs that are similar to column graphs, but positions the bars horizontally instead of vertically.

The Stacked Bar Graph tool creates graphs that are similar to stacked column graphs, but stacks the bars horizontally instead of verti cally.

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100

10 20 30 40 50

A B C D

The Line Graph tool creates graphs that use points to represent one or more sets of values, with a different line joining the points in each set.

This type of graph is often used to show the trend of one or more subjects over a period of time.

The Area Graph tool creates graphs that are similar to line graphs, but emphasizes totals as well as changes in values.

The Scatter Graph tool creates graphs that plot data points as paired sets of coordinates along the x and y axes. Scatter graphs are useful for identifying patterns or trends in data.

They also can indicate whether variables affect one another.

The Pie Graph tool creates circular graphs whose wedges represent the relative percentages of the values compared.

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The Radar Graph tool creates graphs that compare sets of values at given points in time or in particular categories, and is displayed in a circular format. This type of graph is also called a web graph.

See also

“Formatting and customizing graphs” on page 515

“About the toolbox” on page 29

To create a graph

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.

Define the dimensions of the graph in any of the following ways:

•

Drag diagonally from the corner where you want the graph to begin to the opposite corner. Alt-drag (Windows) or Option-drag (Mac OS) to draw the graph from its center. Hold down Shift to constrain the graph to a square.

•

Click where you want to create the graph. Enter a width and height for the graph, and click OK.

Note:

The dimensions you define are for the main body of the graph and do not encompass the graph’s labels and legend.

Enter data for the graph in the Graph Data window. (See “Entering graph data” on page 512.)

Important:

Graph data must be arranged in a specific order, which varies by graph type. Before you start to enter data, be sure to read about how to organize labels and data sets in the worksheet.

Click the Apply button , or press the Enter key on the numeric keypad to create the graph.

The Graph Data window stays open until you close it. This allows you to easily switch between editing graph data and working on the artboard.

See also

“Graph tool gallery” on page 510

“Formatting and customizing graphs” on page 515

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Entering graph data

You use the Graph Data window to enter the data for your graph. The Graph Data window appears automatically when you use a graph tool and stays open until you close it. To display the Graph Data window for an existing graph, select the entire graph with the Selection tool, and then choose Object > Graph > Data.

A B C D E F G

Graph data window

Entry text box

Import data

Transpose row/column

Switch x/y

Cell style

Revert

Apply

After you enter data, click the Apply button or press the Enter key on the numeric keypad to regenerate the graph.

You can enter data in any of the following ways:

•

Select a cell in the worksheet, and enter the data in the text box at the top of the window. Press Tab to input the data and select the next cell in the same row; press Enter or Return to input the data and select the next cell in the same column; use the arrow keys to move from cell to cell; or simply click another cell to select it.

•

Copy data from a spreadsheet application such as Lotus® 1-2-3 or Microsoft Excel. In the Graph Data window, click the cell that will be the top-left cell of the data you paste, and choose Edit > Paste.

•

Use a word-processing application to create a text file in which the data for each cell is separated by a tab, and the data for each row is separated by a paragraph return. The data can only contain decimal points or decimal commas; otherwise, the data is not plotted. (For example, enter

732000

, not

732,000

.) In the Graph Data window, click the cell that will be the top-left cell of the data you import, click the Import Data button , and select the text file.

•

If you accidentally enter graph data backward (that is, in rows instead of columns, or vice versa), click the

Transpose button to switch the columns and rows of data. To switch the x and y axes of scatter graphs, click the Switch X/Y button .

To adjust the width of columns, click the Cell Style button , and enter a value between 0 and 20 in the Column

Width text box. Alternatively, 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. Adjusting the column width has no effect on the width of columns in the graph; it only lets you view more or fewer digits in a column.

To adjust the decimal precision in cells, click the Cell Style button, and enter a value between 0 and 10 in the Number of Decimals text box. The default is 2. With the default settings, the number 4 entered in a cell appears in the Graph

Data window box as 4.00; the number 1.55823 entered in a cell displays as 1.56.

See also

“Entering data sets for column, bar, line, area, and radar graphs” on page 513

“To enter data sets for scatter graphs” on page 514

“To enter data sets for pie graphs” on page 515

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To work with graph labels

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:

Labels in Graph Data window

Data set labels

Blank cell

Category labels

•

If you want Illustrator to generate a legend for the graph, delete the contents of the top-left cell and leave the cell blank.

•

Enter labels for the different sets of data in the top row of cells. These labels will appear in the legend. If you don’t want Illustrator to generate a legend, don’t enter data-set labels.

•

Enter labels for the categories in the left column of cells. Categories are often units of time, such as days, months, or years. These labels appear along either the horizontal axis or vertical axis of the graph, with the exception of radar graphs, for which each label results in a separate axis.

•

To create labels consisting only of numbers, enclose the numbers in straight quotation marks. For example, to use the year 1996 as a label, enter

"1996"

•

To create line breaks in labels, use the vertical bar key to separate lines. For example, type

Total|subscrip tions|1996

to produce the following graph label:

Total subscriptions

1996

See also

“Entering graph data” on page 512

Entering data sets for column, bar, line, area, and radar graphs

After you enter the labels for your graph, you’re ready to enter each set of data under the appropriate column.

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80000

70000

60000

50000

40000

30000

20000

10000

1990

2000

Column graph data

•

For column, stacked column, bar, and stacked bar graphs, the height of the column or length of the bar corre sponds to the amount being compared. For column or bar graphs, you can combine positive and negative values; negative values appear as columns extending below the horizontal axis. For stacked column graphs, numbers must be all positive or all negative.

•

For 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.

•

For area graphs, values must be all positive or all negative. Each row of data entered corresponds to a filled area on the area graph. Area graphs add each column’s values to the previous column’s totals. Therefore, even if area graphs and line graphs contain the same data, they appear substantially different.

•

For radar graphs, each number is plotted on an axis and connected to the others in the same axis to create a “web.”

You can combine positive and negative values in a radar graph.

See also

“Entering graph data” on page 512

“To work with graph labels” on page 513

To enter data sets for scatter graphs

A scatter graph differs from the other kinds of graphs in that both axes measure values; there are no categories.You enter data for scatter graphs in the worksheet as follows:

Group A Group B

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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

-axis data in the first column and

-axis data in the second column.

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See also

“Entering graph data” on page 512

“To work with graph labels” on page 513

To 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.

A B C D

Pie graph data

•

Enter data-set labels as for column, stacked column, bar, stacked bar, line, area, and radar graphs. Enter category labels if you want to generate graph names.

•

To create a single pie graph, plot only one row of data, either all positive or all negative values.

•

To create multiple pie graphs, plot additional rows of data, either all positive or all negative values. By default, the size of the individual pie graphs is proportional to the total of each graph’s data.

See also

“Entering graph data” on page 512

“To work with graph labels” on page 513

Formatting graphs

Formatting and customizing graphs

Graphs can be formatted in a variety of ways. For example, you can change the appearance and position of the graph’s axes, add drop shadows, move the legend, and combine different graph types. You can view the formatting options for a graph by selecting a graph with the Selection tool and choosing Object > Graph > Type.

You can also manually customize your graph in numerous ways. You can change the colors of shading; change the typeface and type style; move, reflect, shear, rotate, or scale any or all parts of the graph; and customize column and marker designs. You can apply transparency, gradients, blends, brush strokes, graphic styles, and other effects to graphs. You should always apply these types of changes last, because regenerating the graph will remove them.

To get ideas for how you can customize graphs, see the examples in the Cool Extras/Sample Files/Graph Designs folder inside the Illustrator application folder.

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Keep in mind that a graph is a grouped object that is related to its data. Never ungroup the graph; if you do, you cannot change the graph. To edit a graph, select the parts you want to edit without ungrouping the graph, using either the Direct Selection tool or the Group Selection tool.

It is also important to understand how elements of a graph are related. The entire graph with its legends is one group.

All the sets of data are a subgroup of the graph; in turn, each set of data with its legend box is a subgroup of all the sets of data. Each value is a subgroup of its set of data, and so on. Never ungroup or regroup objects that are within the graph.

See also

“About graph designs” on page 520

To change the graph type

Select a graph with the Selection tool.

Choose Object > Graph > Type, or double-click the graph tool in the toolbox.

In the Graph Type dialog box, click the button that corresponds to the desired graph type, and click OK.

Note:

Once graph objects are painted with gradients, changing graph types can cause unexpected results. To prevent undesirable results, either do not apply gradients until the graph is finished, or use the Direct Selection tool to select gradient-painted objects and paint those objects with a process color; then reapply the original gradients.

To 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.

You can control how many tick marks appear on each axis, change the length of tick marks, and add a prefix and suffix to numbers on the axis.

Select the graph with the Selection tool.

Choose Object > Graph > Type, or double-click the graph tool in the toolbox.

To change the position of the value axis, select an option from the Value Axis menu.

To format tick marks and labels, select an axis from the pop-up menu at the top of the dialog box, and set the following options:

Tick Values

Determines the placement of tick marks on value axes, left axes, right axes, bottom axes, or top axes.

Select Override Calculated Values to manually calculate the placement of tick marks. Either accept the values set when you created the graph or enter a minimum value, a maximum value, and the number of divisions between labels.

Tick Marks

Determines the length of tick marks and number of tick marks per division. To prevent numbers from appearing on an axis, enter

in the Draw Tick Marks Per Division text box. For category axes, select Draw Tick

Marks Between Labels to draw tick marks on either side of the labels or columns, or deselect the option to center tick marks over the labels or columns.

Add Labels

Specifies a prefix and suffix for numbers on value axes, left axes, right axes, bottom axes, or top axes. For example, you can add a dollar sign or percent sign to axis numbers.

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To assign different scales to the value axes

If your graph has a value axis on both sides, you can assign a different set of data to each axis. This causes Illustrator to generate a different scale for each axis. This technique is especially useful when you combine different graph types in the same graph.

Select the Group Selection tool .

Click the legend for the data set you want to assign to the axis.

Without moving the Group Selection tool pointer from the legend, click again. All of the columns grouped with the legend are selected.

Choose Object > Graph > Type, or double-click the graph tool in the toolbox.

From the Value Axis pop-up menu, select the axis to which you want to assign the data.

Click OK.

See also

“Selection tool gallery” on page 262

To format columns, bars, and lines

For column, stacked column, bar, and stacked bar graphs, you can adjust the amount of space between each column or bar in the graph. You can also adjust the amount of space between the categories, or

clusters

, of data in the graph.

For line, scatter, and radar graphs, you can adjust the appearance of lines and data points.

Select the graph with the Selection tool.

Choose Object > Graph > Type, or double-click the graph tool in the toolbox.

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. A value of 100% moves the columns, bars, or clusters flush against each other.

To adjust lines and data points in line, scatter, and radar graphs, set the Mark Data Points, Connect Data Points,

Edge-to-Edge Lines, and Draw Filled Lines options.

To change how columns, bars, and lines overlap, set the First Row In Front and First Column In Front options.

Note:

Always select First Column In Front for area graphs; if you do not, some areas may not appear.

General graph options

Value Axis

Determines where the value axis (the axis that displays the unit of measurement) appears.

Add Drop Shadow

Applies drop shadows behind the columns, bars, or lines in a graph, and to entire pie graphs.

Add Legend Across Top

Displays the legend horizontally across the top of the graph instead of to the right of the graph.

First Row In Front

Controls how the categories, or clusters, of data in a graph overlap when the Cluster Width is greater than 100%. This option is the most useful when working with column and bar graphs.

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First Column In Front

Places the column, bar, or line that corresponds to the first column of data in the Graph Data window on top. This option also determines which column is on top for column and stacked column graphs with a

Column Width greater than 100% and for bar and stacked bar graphs with a Bar Width greater than 100%.

Mark Data Points

Places square markers at each data point.

Connect Data Points

Draws lines that make it easier to see relationships among data.

Edge-to-Edge Lines

Draws lines that extend across the graph, from left to right along the horizontal (x) axis. This option is not available for scatter graphs.

Draw Filled Lines

Creates a wider line according to the value you enter in the Line Width text box, and which fills the line with paint according to the specifications for that series of data. This option becomes available when you select Connect Data Points.

To add drop shadows

You can apply drop shadows behind the columns, bars, or lines in a graph, and to entire pie graphs.

Select a graph with the Selection tool.

Choose Object > Graph > Type, or double-click the graph tool in the toolbox.

In the Graph Type dialog box, select Add Drop Shadow, and click OK.

To change the position of a legend

By default, the legend is displayed to the right of the graph. However, you can choose to display it horizontally across the top of the graph.

Select a graph with the Selection tool.

Choose Object > Graph > Type, or double-click the graph tool in the toolbox.

In the Graph Type dialog box, select Add Legend Across Top, and click OK.

To 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.

Select the graph with the Selection tool.

Choose Object > Graph > Type, or double-click the graph tool in the toolbox.

Do any of the following:

•

To change the placement of the legend, select an option for Legend.

•

To specify how multiple pie graphs are displayed, select an option for Position.

•

To specify how wedges are sorted, select an option for Sort.

Percentages and legends are painted black by default. If a pie wedge with a dark background obscures a legend, repaint the dark background. Use the Group Selection tool to select the dark pie wedges, and paint the wedges using the Color palette or Swatches palette.

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Pie graph options

Legend

Determines the placement of the legend.

•

Standard Legend

Places column labels outside the graph; this is the default. Use this option when you combine pie graphs with other kinds of graphs.

•

Legends In Wedges

Inserts labels into the corresponding wedges.

•

No Legend

Omits legends entirely.

Position

Specifies how multiple pie graphs are displayed.

•

Ratio

Sizes the graphs proportionally.

•

Even

Makes all the pie graphs the same diameter.

•

Stacked

Stacks each pie graph on top of the other, and each graph is sized proportionally to each other.

Sort

Specifies how wedges are sorted.

•

All

Sorts the wedges of the selected pie graphs from largest to smallest value proceeding clockwise from the top of the pie graph.

•

First

Sorts the wedges of the selected pie graphs so that the largest value in the first graph will be placed in the first wedge, and the rest will sort from largest to smallest. All other graphs will follow the order of the wedges in the first graph.

•

None

Sorts the wedges of the selected pie graphs in the order in which you entered values proceeding clockwise from the top of the graphs.

To combine different graph types

You can combine different graph types in one graph. For example, you may want one set of data to appear as a column graph and other sets of data to appear as a line graph. You can combine any type of graph with any other, with the exception of scatter graphs. Scatter graphs cannot be combined with any other graph type.

Retail and

Wholesale

Price Index

250%

200%

150%

100%

Product A Product B Product C

Retail Wholesale

50%

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Combining columns and lines in one graph

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Varietal Retail

Price per Unit

$25

$20

$15

$10

Select the Group Selection tool .

Click the legend for the data whose graph type you want to change.

Without moving the Group Selection tool pointer from the legend, click again. All of the columns grouped with the legend are selected.

Choose Object > Graph > Type, or double-click the graph tool in the toolbox.

Select the graph type and options you want.

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If a graph uses more than one graph type, you may want one set of data along the right axis and the other set of data along the left axis. In this way, each axis measures different data.

Note:

If you use stacked column graphs with other graph types, be sure to use the same axis for all sets of data that are represented by stacked column graphs. If some sets of data use the right axis while others use the left, the column heights may be misleading or may overlap.

To select parts of a graph

Select the Group Selection tool .

Click the legend of the columns you want to select.

Without moving the Group Selection tool pointer from the legend, click again. All of the columns grouped with the legend are selected.

You can also select a group by clicking one of its parts, clicking again to select columns grouped with it, and clicking a third time to select the legend. Each click adds another layer of grouped objects to the selection, beginning with the next group up in the hierarchy. You can click as many times as the number of groups to add to a selection.

To deselect part of a selected group, select the Direct Selection tool , and Shift-click the object.

To format the text in a graph

Illustrator uses a default font and font size when generating text for the graph’s labels and legend. However, you can easily change the formatting of type to add visual interest to your graph.

Select the Group Selection tool .

Click once to select the baseline of the type you want to change; click twice to select all of the type.

Change the type attributes as desired.

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.

You can apply graph design to columns in several ways:

•

vertically scaled

design is stretched or compressed vertically. Its width does not change.

•

uniformly scaled

design is scaled both vertically and horizontally. The horizontal spacing of the designs is not adjusted for the different widths.

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Vertically scaled graph design compared to uniformly scaled graph design

•

repeating design

stacks a design to fill the columns. You can specify the value that each design represents, as well as whether you want to chop or scale designs that represent fractions.

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Repeating graph with chopped design compared to repeating graph with scaled design

•

sliding design

is similar to a vertically scaled design, except that you can specify where in the design to stretch or compress it. For example, if you were using a person to represent data, you might stretch or compress only the body, but not the head. Using the Vertically Scaled option would scale the entire person.

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Sliding graph design

To 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.

Choose Window > Swatch Libraries > Other Library.

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.

•

To import graph designs from another document, select the document, and click Open.

Initially, all that appears is a new palette with colors, gradients, and patterns from the imported file. However, the imported graph designs will be available when you open the Graph Column or Graph Marker dialog box.

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To create a column design

Create a rectangle as the backmost object in the design. The rectangle represents the boundary of the graph design.

Copy and paste the smallest column in your graph to use it as the bounding rectangle for your design.

Paint the rectangle as desired, or fill and stroke it with None so that it is invisible.

Create the design using any of the drawing tools, or position an existing design in front of the rectangle.

Using the Selection tool , select the entire design, including the rectangle.

Choose Object > Group to group the design.

Choose Object > Graph > Design.

Click New Design. A preview of the selected design appears. Only the portion of the design that fits inside the backmost rectangle is visible, but the whole design appears when used in the graph.

Click Rename to name the design.

Creating a graph design is similar to creating a pattern.

See also

“About patterns” on page 255

To create a sliding column design

Create a rectangle as the backmost object in the design. This rectangle is the boundary for the graph design.

Create the design using one of the drawing tools, or place an existing design in front of the rectangle.

Use the Pen tool to draw a horizontal line to define where the design is to be stretched or compressed.

Select all parts of the design, including the horizontal line.

Choose Object > Group to group the design.

Use the Direct Selection tool or Group Selection tool to select the horizontal line. Be sure to select only the horizontal line.

Choose View > Guides > Make Guides.

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.

Use the Selection tool to select the whole design.

Choose Object > Graph > Design.

Click New Design. A preview of the selected design appears.

Click Rename to name the design.

To add totals to a column design

Create the column design.

Select the Type tool . Position the pointer at a point where you want the value to appear, near or in the rectangle that defines the design.

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For example, you can place the value in, above, below, to the left, or to the right of the design.

Click and type a percent sign (%) followed by two digits from 0 to 9. The digits control how the data is displayed.

The first digit determines how many places appear before the decimal point. For example, if your total was 122, a digit of 3 would display 122. If you enter 0 for the first digit, the program adds the number of places necessary for the value.

The second digit determines how many places appear after the decimal point. Zeros are added as necessary, and values are rounded up or down as necessary. You can vary these numbers, depending on how many digits you need.

To change the type attributes, choose Window > Type > Character, specify the attributes you want, and close the palette.

To align the decimal points, choose Window > Type > Paragraph and click the Align Text Right button.

Using the Selection tool , select the entire design, including the rectangle and any type.

Choose Object > Group to group the design.

Choose Object > Graph > Design.

Click New Design. You see a preview of the selected design.

Click Rename to name the design.

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Sliding graph design with column totals

To create a marker design

Select and copy a marker rectangle from the graph, and paste it where you're going to create your design. This will be the backmost object in your graph design and will establish the size of the marker.

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.

Once you’ve got the marker design the way you want it, select the design, choose Object > Graph > Design, and click New Design.

Click Rename to name the design.

To apply a column design to a graph

Create or import the column design.

Use the Group Selection tool to select the columns or bars you want to fill with the design, or select the entire graph.

Choose Object > Graph > Column.

Select a column design type.

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If you choose the Repeating Column Type, enter a value in the Each Design Represents text box. Also select whether to chop or scale any fractions of the design from the For Fractions pop-up menu. Chop Design cuts off a fraction of the top design as necessary; Scale Design scales the last design to fit in the column.

Select the design you want to use. A preview of the selected design appears.

Click OK.

To apply a marker design to a line or scatter graph

Create or import the column design.

Use the Group Selection tool to select the markers and the legends in the graph that you want to replace with a design. Do not select any lines.

Choose Object > Graph > Marker. Select a design, and click OK.

The design is scaled so that the backmost rectangle in the design is the same size as the default square marker on the line or scatter graph.

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Line graph with marker designs

To reuse a graph design

You can reuse a graph design that you created and edit it to make a new design. If you have the original artwork, you can alter it and then rename the design using the Graph Design dialog box.

If you don’t have the original artwork defined as a graph design, you can retrieve the original by pasting the graph design into your artwork.

Choose Select > Deselect to deselect all of the artwork.

Choose Object > Graph > Design.

Select the graph design that you want to paste into your artwork, and click Paste Design.

Click OK. The graph design is pasted into your artwork. You can now edit it and define it as a new graph design.

Chapter 20: Keyboard shortcuts

Customizing keyboard shortcuts

Illustrator lets you view a list of all shortcuts, and edit or create shortcuts. The Keyboard Shortcuts dialog box serves as a shortcut editor, and includes all commands that support shortcuts, some of which aren’t addressed in the default shortcut set.

If the default shortcut set is insufficient, you can create additional custom sets. For example, you can create separate sets for different workspaces chosen from the Window > Workspace menu.

In addition to using keyboard shortcuts, you can access many commands using context-sensitive menus. Contextsensitive menus display commands that are relevant to the active tool, selection, or palette. To display a contextsensitive menu, right-click (Windows) or Control-click (Mac OS) in the document window or palette.

To customize keyboard shortcuts

You can define your own sets of shortcuts, change individual shortcuts within a set, and switch between sets of shortcuts.

Choose Edit > Keyboard Shortcuts.

Choose a set of shortcuts from the Set menu at the top of the Keyboard Shortcuts dialog box.

Choose a shortcut type (Menu Commands or Tools) from the menu above the shortcut display.

Do any of the following:

•

To activate the set of shortcuts, click OK.

•

To change a shortcut, click in the Shortcut column of the scroll list and type a new shortcut. If you enter a shortcut that is already assigned to another command or tool, an alert appears at the bottom of the dialog box. Click Undo to undo the change, or click Go To to go to the other command or tool and assign it a new shortcut. In the Symbol column, type the symbol that will appear in the menu or tool tip for the command or tool. You can use any of the characters that are allowed in the Shortcut column.

Note:

Mac OS does not allow you to assign Command+Option+8 as a menu shortcut.

•

To save changes to the current set of shortcuts, click OK. (You can’t save changes to the set named Illustrator

Defaults.)

•

To save a new set of shortcuts, click Save. Enter a name for the new set, and click OK. The new key set will appear in the pop-up menu under the new name.

•

To delete the set of shortcuts, click Delete. (You can’t delete the set named Illustrator Defaults.)

•

To export the displayed set of shortcuts into a text file, click Export Text. In the Save Key Set File As dialog box, enter a filename for the current key set that you are saving, and click Save. You can use this text file to print out a copy of your keyboard shortcuts.

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Default keyboard shortcuts

Keys for selecting tools

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

Selection tool

Direct Selection tool

Magic Wand tool

Lasso tool

Pen tool

Add Anchor Point tool

Delete Anchor Point tool

Convert Anchor Point tool

Type tool

Line Segment tool

Rectangle tool

Ellipse tool

Paintbrush tool

Pencil tool

Rotate tool

Reflect tool

Scale tool

Warp tool

Free Transform tool

Symbol Sprayer tool

Column Graph tool

Mesh tool

Gradient tool

Eyedropper tool

Live Paint Bucket tool

Live Paint Selection tool

Blend tool

Slice tool

Shift + L

Shift + K

Shift + R

Shift + S

Windows

+ (plus)

- (minus)

Shift + C

\ (backslash)

Shift + L

Shift + K

Shift + R

Shift + S

Mac OS

+ (plus)

- (minus)

Shift + C

\ (backslash)

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Result

Scissors tool

Hand tool

Zoom tool

Windows

Mac OS

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.

Result Windows

Toggle between Standard screen mode, Full screen mode, and Full screen mode with menu bar

Fit imageable area in window

Magnify 100%

Double-click Hand tool

Double-click Zoom tool

Switch to Hand tool (when not in text-edit mode)

Spacebar

Switch to Zoom tool in magnify mode

Switch to Zoom tool in reduce mode

Ctrl + Spacebar

Ctrl + Alt + Spacebar

Move Zoom marquee while dragging with the Zoom tool

Spacebar

Hide unselected artwork

Convert between horizontal and vertical guide

Control + Alt + Shift + 3

Alt-drag guide

Release guide Ctrl + Shift-double-click guide

Mac OS

Double-click Hand tool

Double-click Zoom tool

Spacebar

Command + Spacebar

Command + Option + Spacebar

Spacebar

Command + Option + Shift + 3

Option-drag guide

Command + Shift-double-click guide

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.

Result Windows

Constrain a shape’s proportions or orienta tion to:

•

Equal height and width for rectangles, rounded rectangles, ellipses, and grids

•

Increments of 45˚ for line and arc segments

•

Original orientation for polygons, stars, and flares

Shift-drag

Move a shape while drawing it spacebar-drag

Draw from the center of a shape (except for polygons, stars, and flares)

Alt-drag

Mac OS

Shift-drag spacebar-drag

Option-drag

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Result

Continuously duplicate a shape

Windows

‘ (grave accent)-drag

Mac OS

‘ (grave accent)-drag

Increase or decrease polygon sides, star points, arc angle, spiral winds, or flare rays

Start dragging, then press the Up Arrow or

Down Arrow

Start dragging, then press the Up Arrow or

Down Arrow

Keep the inner radius of a star constant

Keep the sides of a star straight

Start dragging, then hold down Ctrl

Alt-drag

Start dragging, then hold down Command

Option-drag

Switch between an open and closed arc

Flip an arc, keeping the reference point constant

Start dragging, the hold down C

Start dragging, the hold down F

Start dragging, the hold down C

Start dragging, the hold down SF

Add or subtract winds from a spiral while increasing the length of the spiral

Change the decay rate of a spiral

Alt-drag Option-drag

Ctrl-drag Command-drag

Add or remove horizontal lines from a rect angular grid or concentric lines from a polar grid

Start dragging, then press the Up Arrow or

Down Arrow

Start dragging, then press the Up Arrow or

Down Arrow

Add or remove vertical lines from a rectan gular grid or radial lines from a polar grid

Start dragging, then press the Right Arrow or Left Arrow

Start dragging, then press F Start dragging, then press F Decrease the skew value for horizontal dividers in a rectangular grid or radial dividers in a polar grid by 10%

Increase the skew value for horizontal dividers in a rectangular grid or radial dividers in a polar grid by 10%

Start dragging, then press V Start dragging, then press V

Decrease the skew value for vertical dividers in a rectangular grid or concentric dividers in a polar grid by 10%

Start dragging, then press X Start dragging, then press X

Increase the skew value for vertical dividers in a rectangular grid or concentric dividers in a polar grid by 10%

Start dragging, then press C

Create and expand a Live Trace object in one step

Alt-click Live Trace in the Control palette, or hold down Alt and select a tracing preset.

Start dragging, then press C

Option-click Live Trace in the Control palette, or hold down Option and select a tracing preset.

Keys for selecting

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.

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Result Windows

Switch to last-used selection tool (Selection tool, Direct Selection tool, Group Selection tool, or Live Paint Selection tool)

Ctrl

Switch between Direct Selection tool and

Group Selection tool

Alt

Add to a selection with Selection tool,

Direct Selection tool, Group Selection tool,

Live Paint Selection tool, or Magic Wand tool

Shift-click

Subtract a selection with Selection tool,

Direct Selection tool, Group Selection tool,

LIve Paint Selection tool, or Magic Wand tool

Shift-click

Add to selection with Lasso tool

Subtract from selection with Lasso tool

Change pointer to cross hair for selected tools

Shift-drag

Alt-drag

Caps Lock

Mac OS

Command

Option

Shift-click

Shift-drag

Option-drag

Caps Lock

Keys for moving selections

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

Lock all deselected artwork

Constrain movement to 45˚ angle (except when using Reflect tool)

Windows

Ctrl + Alt + Shift + 2

Hold down Shift

Mac OS

Move selection in user-defined increments Right Arrow, Left Arrow, Up Arrow, or Down

Arrow

Right Arrow, Left Arrow, Up Arrow, or Down

Arrow

Move selection in 10x user-defined incre ments

Shift + Right Arrow, Left Arrow, Up Arrow, or

Down Arrow

Shift + Right Arrow, Left Arrow, Up Arrow, or

Down Arrow

Command + Option + Shift + 2

Hold down Shift

Set keyboard increments in General Preferences

Keys for editing shapes

This is not a complete list of keyboard shortcuts. This table lists only those shortcuts that are not displayed in menu commands or tool tips.

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Result

Switch Pen tool to Convert Anchor Point tool

Windows

Alt

Switch between Add Anchor Point tool and

Delete Anchor Point tool

Alt

Alt Switch Scissors tool to Add Anchor Point tool

Switch Pencil tool to Smooth tool Alt

Move current anchor point while drawing with Pen tool

Spacebar-drag

Cut a straight line with Knife tool

Cut at 45˚ or 90˚ with Knife tool

Turn shape mode buttons in Pathfinder palette into Pathfinder commands

Alt-drag

Shift + Alt-drag

Alt + Shape mode

Mac OS

Option

Spacebar-drag

Option-drag

Shift + Option-drag

Option + Shape mode

Keys for painting objects

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

Toggle between fill and stroke

Set fill and stroke to default

Swap fill and stroke

Select gradient fill mode

Select color fill mode

Select no stroke mode

Sample color from an image or interme diate color from gradient

Sample style and append appearance of currently selected item

Add new fill

Add new stroke

Reset gradient to black and white

Windows

Shift + X

/ (forward slash)

Shift + Eyedropper tool

Alt + Shift-click + Eyedropper tool

Ctrl + / (forward slash)

Ctrl + Alt + / (forward slash)

Ctrl-click gradient button in Toolbox

Mac OS

Shift + X

/ (forward slash)

Shift + Eyedropper tool

Option + Shift-click + Eyedropper tool

Command + / (forward slash)

Command + Option + / (forward slash)

Command-click gradient button in Toolbox

Keys for working with Live Paint groups

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.

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Result

Switch to Eyedropper tool and sample fill and/or stroke

Windows

Alt-click + Live Paint Bucket tool

Switch to Eyedropper tool and sample color from an image or intermediate color from a gradient

Alt + Shift-click + Live Paint Bucket tool

Add to/subtract from a selection Shift-click + Live Paint Selection tool

Select all connected faces /edges with same fill/stroke

Double-click + Live Paint Selection tool

Select all faces/edges with same fill/stroke Triple-click + Live Paint Selection tool

Mac OS

Option-click + Live Paint Bucket tool

Option + Shift-click + Live Paint Bucket tool

Select opposite Live Paint Bucket tool options (if Paint Fills and Paint Strokes are currently selected, switch to Paint Fills only)

Shift + Live Paint Bucket tool

Fill across unstroked edges into adjacent faces

Double-click + Live Paint Bucket tool

Fill all faces that have same fill and stroke all edges that have same stroke

Triple-click + Live Paint Bucket tool

Shift + Live Paint Bucket tool

Double-click + Live Paint Bucket tool

Triple-click + Live Paint Bucket tool

Switch to Eyedropper tool and sample fill and/or stroke

Alt-click + Live Paint Selection tool Option-click + Live Paint Selection tool

Switch to Eyedropper tool and sample color from an image or intermediate color from a gradient

Alt + Shift-click + Live Paint Selection tool Option + Shift-click + Live Paint Selection tool

Shift-click + Live Paint Selection tool

Double-click + Live Paint Selection tool

Triple-click + Live Paint Selection tool

Keys for transforming objects

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

Set origin point and open dialog box when using Rotate tool, Scale tool, Reflect tool, or

Shear tool

Alt-click

Duplicate and transform selection when using Selection tool, Scale tool, Reflect tool, or Shear tool

Alt-drag

Transform pattern (independent of object) when using Selection tool, Scale tool,

Reflect tool, or Shear tool

Tilde (~)-drag

Mac OS

Option-click

Option-drag

Tilde (~)-drag

Keys for working with type

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.

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Result

Move one character right or left

Move up or down one line

Move one word right or left

Move up or down one paragraph

Select one word right or left

Select one paragraph before or after

Extend existing selection

Align paragraph left, right, or center

Justify paragraph

Insert soft return

Highlight kerning

Windows

Right Arrow or Left Arrow

Up Arrow or Down Arrow

Ctrl + Right Arrow or Left Arrow

Ctrl + Up Arrow or Down Arrow

Shift + Ctrl + Right Arrow or Left Arrow

Shift + Ctrl + Up Arrow or Down Arrow

Shift-click

Ctrl + Shift + L, R, or C

Ctrl + Shift + J

Shift + Enter

Ctrl + Alt + K

Mac OS

Right Arrow or Left Arrow

Up Arrow or Down Arrow

Command + Right Arrow or Left Arrow

Command + Up Arrow or Down Arrow

Shift + Command + Right Arrow or Left

Arrow

Shift + Command + Up Arrow or Down

Arrow

Shift-click

Command + Shift + L, R, or C

Command + Shift + J

Shift + Return

Command + Option + K

Reset horizontal scale to 100%

Increase or decrease type size

Increase or decrease leading

Set leading to the type size

Ctrl + Shift + X

Ctrl + Shift + > or <

Command + Shift + X

Command + Shift + > or <

Alt + Up Arrow or Down Arrow Option + Up Arrow or Down Arrow

Double-click leading icon in the Character palette

Ctrl + Alt + Q

Alt + Right Arrow or Left Arrow

Command + Option + Q

Option + Right Arrow or Left Arrow

Reset tracking/kerning to 0

Add or remove space (kerning) between two characters

Add or remove space (kerning) between characters by five times the increment value

Increase or decrease baseline shift

Ctrl + Alt + Right Arrow or Left Arrow

Alt + Shift + Up Arrow or Down Arrow

Switch between Type and Vertical Type,

Area Type and Vertical Area Type, and Path

Type and Vertical Path Type tools

Shift

Switch between Area Type and Type, Path

Type and Area Type, and Vertical Path Type and Vertical Area Type tools

Alt-click Type tool

Command + Option + Right Arrow or Left

Arrow

Option + Shift + Up Arrow or Down Arrow

Shift

Option-click Type tool

To change the increment value for type shortcuts, choose Edit > Preferences >Type (Windows) or Illustrator >

Preferences >Type (Mac OS). Enter the values you want in the Size/Leading, Baseline Shift, and Tracking text boxes, and click OK.

Keys for using palettes

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.

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Result

Set options (except for Action and Brush palettes)

Delete without confirmation (except for

Variable palette)

Apply value and keep text box active

Windows

Alt-click New button

Alt-click Delete button

Shift + Enter

Highlight last-used text box in palette

Select range of actions, brushes, layers, links, styles, or swatches

Control + ~ (Tilde)

Shift-click

Select noncontiguous actions, brushes, layers (same level only), links, styles, or swatches

Ctrl-click

Show/Hide all palettes Tab

Show/Hide all palettes except the Toolbox Shift + Tab

Mac OS

Option-click New button

Option-click Delete button

Shift + Return

Command + ~ (Tilde)

Shift-click

Command-click

Tab

Shift + Tab

Keys for the Actions palette

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

Expand/Collapse entire hierarchy for action set

Alt-click expansion triangle

Set options for action set

Play a single command

Double-click folder icon

Alt-click Play button

Play the current action Ctrl-double-click Play button

Begin recording actions without confirma tion

Alt-click New Action button

Mac OS

Option-click expansion triangle

Double-click folder icon

Option-click Play button

Command-double-click Play button

Option-click New Action button

Keys for the Brushes palette

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

Open Brush Options dialog box

Duplicate brush

Windows

Double-click brush

Drag brush to New Brush button

Mac OS

Double-click brush

Drag brush to New Brush button

Keys for the Character and Paragraph palettes

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.

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Result

Increase/decrease the selected value by a small increment

Windows

Up Arrow or Down Arrow

Increase/decreases the selected value by a large increment

Shift + Up Arrow or Down Arrow

Highlight the font name field in the Char acter palette

Ctrl + Alt + Shift + F

Mac OS

Up Arrow or Down Arrow

Shift + Up Arrow or Down Arrow

Command + Option + Shift + F

Keys for the Color palette

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

Select the complement for the current color fill/stroke

Ctrl-click color bar

Change the nonactive fill/stroke Alt-click color bar

Mac OS

Command-click color bar

Option-click color bar

Select the complement for the nonactive fill/stroke

Ctrl + Alt-click color bar

Select the inverse for the current fill/stroke Ctrl + Shift-click color bar

Select the inverse for the nonactive fill/stroke

Ctrl + Shift + Alt-click color bar

Change the color mode

Move color sliders in tandem

Switch between percentage and 0-255 values for RGB

Shift-click color bar

Shift-drag color slider

Command + Option-click color bar

Command + Shift-click color bar

Command + Shift + Option-click color bar

Shift-click color bar

Shift-drag color slider

Double-click to right of a numerical field Double-click to right of a numerical field

Keys for the Gradient palette

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

Duplicate color stops

Swap color stops

Windows

Alt-drag

Alt-drag color stop onto another stop

Apply swatch color to active (or selected) color stop

Alt-click swatch in the Swatches palette

Mac OS

Option-drag

Option-drag color stop onto another color stop

Option-click swatch in the Swatches palette

Keys for the Layers palette

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.

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Result

Select all objects on the layer

Windows

Alt-click layer name

Show/hide all layers but the selected one Alt-click eye icon

Select Outline/Preview view for the selected layer

Ctrl-click eye icon

Selects Outline/Preview view for all other layers

Ctrl + Alt-click eye icon

Lock/unlock all other layers

Expand all sublayers to display entire hier archy

Alt-click lock icon

Alt-click expansion triangle

Set options as you create new layer

Set options as you create new sublayer

Alt-click New Layer button

Alt-click New Sublayer button

Place new sublayer at bottom of layer list Ctrl + Alt-click New Sublayer button

Place layer at top of layer list

Place layer below selected layer

Ctrl-click New Layer button

Ctrl + Alt-click New Layer button

Copy the selection to a new layer, sublayer, or group

Alt-drag selection

Mac OS

Option-click layer name

Option-click eye icon

Command-click eye icon

Command + Option-click eye icon

Option-click lock icon

Option-click expansion triangle

Option-click New Layer button

Option-click New Sublayer button

Command + Option-click New Sublayer button

Command-click New Layer button

Command + Option-click New Layer button

Option-drag selection

Keys for the Swatches palette

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

Create new spot color

Create new global process color

Replace swatch with another

Select swatch by name (using keyboard)

Windows

Ctrl-click New Swatch button

Ctrl + Shift-click New Swatch button

Alt-drag a swatch over another

Ctrl + Alt-click in the swatch color list

Mac OS

Command-click New Swatch button

Command + Shift-click New Swatch button

Option-drag a swatch over another

Command + Option-click in the swatch color list

Keys for the Transform palette

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

Apply a value and keep focus in edit field Shift + Enter

Apply a value and copy object Alt + Enter

Apply a value and scale option proportion ately for width or height

Ctrl + Enter

Mac OS

Shift + Return

Option + Return

Command + Return

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Keys for the Transparency palette

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

Change mask to grayscale image for editing Alt-click on mask thumbnail

Disable opacity mask Shift-click on mask thumbnail

Re-enable opacity mask

Increase/decrease opacity in 1% incre ments

Increase/decrease opacity in 10% incre ments

Shift-click on disabled mask thumbnail

Click opacity field + Up Arrow or Down

Arrow

Mac OS

Option-click on mask thumbnail

Shift-click on mask thumbnail

Shift-click on disabled mask thumbnail

Click opacity field + Up Arrow or Down

Arrow

Shift-click opacity field + Up Arrow or Down

Arrow

Shift-click opacity field + Up Arrow or Down

Arrow

Function keys

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

Invoke Help

Cut

Copy

Paste

Show/hide Brushes palette

Show/hide Color palette

Show/hide Layers palette

Show/hide Info palette

Show/hide Gradient palette

Show/hide Stroke palette

Show/hide Attributes palette

Revert

Show/hide Graphic Styles palette

Show/hide Appearance palette

Show/hide Align palette

Show/hide Transform palette

Show/hide Pathfinder palette

Show/hide Transparency palette

Show/hide Symbols palette

Ctrl + F9

Ctrl + F10

Ctrl + F11

F12

Shift + F5

Shift + F6

Shift + F7

Windows

Shift + F8

Shift + Ctrl + F9

Shift + Ctrl + F10

Shift + Ctrl + F11

Mac OS

Command + F9

Command + F10

Command + F11

F12

Shift + F5

Shift + F6

Shift + F7

Shift + F8

Shift + Command + F9

Shift + Command + F10

Shift + Command + F11

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Keys for working with Adobe Bridge

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

Open Adobe Bridge from other Creative

Suite application

Windows

Control + Alt + O, Control + Shift + O

Switch to the next open Bridge window

Switch to previous Bridge window

Control + ~

Shift + Control + ~

Switches to the next view (As Thumbnails.

As Filmstrip, As Details, or As Versions And

Alternates)

Control + \

Switch to user-defined workspaces

Switch to previous view

Show all files

Control + F6 through Control + F12

Shift + Control + \

Alt + Control + F

Show files with 1 or more stars

Show files with 2 or more stars

Show files with 3 or more stars

Show files with 4 or more stars

Show files with 5 stars

Show files with label 1

Show files with label 2

Show files with label 3

Alt + Control + 1

Alt + Control + 2

Alt + Control + 3

Alt+Control+4

Alt + Control + 5

Alt + Control + 6

Alt + Control + 7

Alt + Control + 8

Show files with label 4

Open selected image in the Camera Raw dialog box in Bridge

Alt + Control + 9

Control + R

Open selected image with saved camera raw settings in Photoshop

Shift + Control + O

Copy camera raw settings from selected file Alt + Control + C

Paste camera raw settings into selected file Alt + Control + V

Mark selected Version Cue file as in use Shift + Control + M

Synchronize local view and server view of selected Version Cue file

Shift + Control + B

Make selected Version Cue files alternates of each other.

Shift + Control + G

Shift + Control + V Create saved version of selected Version

Cue file

Open Version Cue Versions dialog box

Return to last application that launched

Bridge

Shift + Alt + Control + V

Alt + Control + O

Mac OS

Command + Option + O, Command + Shift

+ O

Command + ~

Shift + Command + ~

Command + \

Command + F6 through Command + F12

Shift + Command + \

Option + Command + F

Option + Command + 1

Option + Command + 2

Option + Command + 3

Option + Command + 4

Option + Command + 5

Option + Command + 6

Option + Command + 7

Option + Command + 8

Option + Command + 9

Command + R

Shift + Command + O

Option + Command + C

Option + Command + V

Shift + Command + M

Shift + Command + B

Shift + Command + G

Shift + Command + V

Shift + Option + Command + V

Option + Command + O

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Result

Delete selected file

Windows

Control + Backspace

Move up a folder (in folder view) or a row Up Arrow

Move down a folder (in folder view) or a row Down Arrow

Move up a level (in folder view)

Move left one item

Control + Up Arrow

Left Arrow

Mac OS

Command + Backspace

Up Arrow

Down Arrow

Command + Up Arrow

Left Arrow

Move right one item

Move to the first item

Move to the last item

Add to selection (discontiguous)

Right Arrow

Home

End

Control-click

Right Arrow

Home

End

Command-click

Refresh tree and thumbnail panes

Add an item to the selection

Rotate image clockwise

Display Help

F5 F5

Shift + Right Arrow, Left Arrow, Up Arrow, or

Down Arrow

Shift + Right Arrow, Left Arrow, Up Arrow, or

Down Arrow

Control + ] Command + ]

Rotate image counterclockwise Control + [

Launch File Bridge in maximized state and auto-hide palettes

Control-click the Open Bridge icon in the options bar

Open File Info dialog box Control + Alt + I

Command + [

Command-click the Open Bridge icon in the options bar

Command + Option + I

Keys for selecting in Version Cue

Result

Select all

Select entries (selective)

Select entries (range)

Select next entry

Select previous entry

Select next entry (additive)

Select previous entry (additive)

Select first entry

Select last entry

Windows

A + Control-click

Control-click

Shift-click

Down Arrow

Up Arrow

Shift + Down arrow

Shift + Up Arrow

Page Up or Home

Page down or home

Mac OS

A + Command-click

Command-click

Shift-click

Down Arrow

Up Arrow

Shift + DownAarrow

Shift + Up Arrow

Page Up or Home

Page Down or Home

Keys for navigation in Version Cue

Result

Open folder

New folder

Up one level

Open selected file

Delete selected file or files

Cancel dialog

Windows

Control + O

Control + N

Backspace

Enter

Delete

Escape

Keys for viewing in Version Cue

Result

Details

Icons

Thumbnails

Tiles

Windows

Control + 1

Control + 2

Control + 3

Control + 4

Mac OS

Command + O

Command + N

Command + Up Arrow

Return

Command + backspace

Escape

Mac OS

Command + 1

Command + 2

Command + 3

Command + 4

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Index

Accented Edges command 430

Acrobat.

See

Adobe Acrobat actions about 498 batch-processing files 503 changing recorded values 501 creating 499 editing and deleting 502 excluding tasks from 501 inserting commands, stops, paths, and selections 500 modal controls in 501 nonrecordable tasks 500 playback speed 501 playing 499 sets 502

Actions palette 498, 533

Actual Size command 38

Add (Pathfinder) effect 305

Add Anchor Point tool 145, 160

Add New Fill command 227

Add New Stroke command 227

Add To Favorites command 58 additive colors 181

Adjust Colors filter 195

Adobe Acrobat

See also

PDF files comparing versions 351 layered PDF files in 347 working with Version Cue 82

Adobe Bridge

See also

Bridge window about 48 adding files to Version Cue projects 99 creating Version Cue projects in 92

Creative Suite color settings 200,

202 deleting Version Cue files in 108,

110 deleting Version Cue projects in 108 opening from Illustrator 35 revealing Version Cue files in 97 showing current file in 29

Adobe Creative Suite color settings 200

Adobe dialog box, in Version Cue 82

Adobe GoLive creating dynamic data for 509 exporting Illustrator files for 286 saving HTML files for 464 working with Version Cue 82

Adobe Graphics Server 505, 509

Adobe Illustrator Prefs file 45

Adobe InDesign exporting artwork to 286 metadata in 64 placing Illustrator files in 485

Adobe PDF.

See

PDF files

Adobe Photoshop compounds paths from 308 copying objects to or from 286 embedded artwork 425 exporting files for 340, 344 exporting Illustrator files for 286 import options 333 importing files from 333 moving part of image to

Illustrator 334 moving paths to Illustrator 334 using Photoshop effects in

Illustrator 425

Adobe Press 8

Adobe RGB color space 216

Adobe Stock Photos

See also

Stock Photo accounts about 71 buying 75, 76 comps 74 in Bridge 48 preferences 79 redownloading photos 79 search tips 73 searching with keywords 73 shopping cart 75 viewing order details 77

Adobe Studio 7

Adobe Studio Exchange 9

Adobe Version Cue accessing commands in status bar 29 connecting to remote projects 88 disconnecting in 105 features, availability of 81 folders 87 in Bridge 48 migrating to version 2.0 126 projects folder 86 publishing projects with

GoLive 128

Adobe Version Cue Administration utility about 123 deleting projects in 130 duplicating projects in 130 editing project properties 130 exporting projects 131 setting workspace preferences 125

Adobe Version Cue projects adding files to 99 backup and restoration 132 connecting to remote projects 88 copying 131 copying and moving files between 101 creating and editing 90 disconnecting from 105 displaying information about 90 opening 87 opening files in 97 properties 130 restricting access to 134 sharing 94 synchronizing 119 using lock protection in 129 working copies 86

Adobe Version Cue Workspaces changing the display of 89 creating user IDs in 134 deleting shortcuts 105 displaying information about 138 logs 126, 138

540

renaming 125 restarting 84 setting preferences for 84

AI file format.

See

Illustrator file format

AIPrefs file 45

AIT files 35 aki 407 aligning

Align palette 272 objects 272 paragraphs 396

Smart Guides 43 snapping 42, 43 type in slices 445 using guides 42

All Artwork Above (Hide) command 288

All Artwork Above (Lock) command 287 all caps, in type 388

All On Same Layers command 263

ALT text in web pages 445

AlterCast.

See

Adobe Graphics Server alternate glyphs about 389

Asian 406, 407 fractions and ordinals 394

Glyphs palette 389 highlighting 390 inserting 390 ligatures and contextual alternates 393 numbers 392

OpenType fonts 391 replacing 390 swashes 393 alternates groups, in Version Cue 118 in Version Cue 115 making primary 117 making, in Bridge 119 moving to another alternates group 119 removing 118 saving, in Version Cue 116 viewing, in Bridge 116 viewing, in Version Cue 117 anchor points about 144 adding 160 converting between smooth and corner 161 corner point, creating 156 deleting 160, 161 joining endpoints 164 moving 159, 164 removing extra points 163 rules for adjusting 157 selecting 158 showing and hiding 158 snapping objects to 43 stray points, finding 161 types of 157 angle of rotation 274, 275

Angled Strokes command 430 animations creating 450, 451 releasing objects to layers 281 saving, with Export command 342 anti-aliasing in envelopes 300 for images generated by effects 424 in type 379 preferences for artwork 41 previewing 442 in web graphics 454 when saving artwork 342, 344, 345 appearance attributes

See also

targeting, Appearance palette about 419 applying to new objects 420 copying between objects 421, 422 multiple fills and strokes 227 removing from objects 421

Appearance Of Black preferences 203

Appearance palette

See also

appearance attributes about 419 changing the order of items 421 duplicating items 420

AppleScript 504

Apply SVG Filter command 449

Arc tool 145, 149 arcs, drawing 149 area graphs

See also

graph designs, graphs about 510 entering data for 513 area type about 361 creating 363 first baseline offset 366 inset spacing 366 resizing 365 rows and columns 367

Area Type tool 361

Arrange (Object) commands 283 arrowheads, adding to lines 226 art brushes 236, 241 artboard about 36 adding gridlines to 42 adding guides to 42 changing the size and color 38 scrolling 38 tiling 37 zooming 38

Artistic effects and filters 429 artwork, copying from

Photoshop 334

As Details command 54

As Filmstrip command 54

As Versions And Alternates command 54

ASCII file format 364

Asian type.

See

type, Asian

Assign Profile command 214 auto slices 444

AutoCAD file formats 340 automated tasks resources for 8 automated tasks, running 62 automating tasks.

See

actions, scripts, data-driven graphics

Average command 164 axes adjusting axis of reflection 277 rotating 275

background color document window 38 slices 445 web pages 466

INDEX

541

background images 466 backgrounders 8 banding, in blends and gradients 483 bar graphs

See also

graph designs, graphs about 510 entering data for 513

Bas Relief command 432 base (nonemulsion side) 471 baseline shift all 385 first 366 basic appearance, of new objects 420 batch processing 503

Batch Rename command 63 bevel joins, for strokes 226 bevels, for 3D objects 320 bitmap images about 328 applying effects to 424, 425 colorizing 196 copying from Photoshop 334 created by effects 424 created from vector 437 dimming 279 resolution of 329 texturizing 434 tracing 165 transparency in 329 tutorial 25 black point compensation 219 black, appearance of 203 black-and-white artwork 184 bleeds about 477 adding 477 clipping imported PDF to 331 crop marks and 475 saving in PDF files 354

Blend tool 290, 311, 312

Blending Mode (Select Same) command 269

Blending Mode command 250 blending modes about 248 blend color 248 changing 250 isolating to groups or layers 250 mixing overlapping colors 196 selecting objects with same 267 blends about 311, 312 changing spine of 313 creating 312 expanding 314 options for 313 printing issues 481, 483 releasing 314 reversing 314

Bloat tool 290

Blur effects and filters 430

BMP file format

See also

exporting artwork about 341

Bottom-to-bottom leading 415 bounding boxes in patterns 255 about 292 rotating objects with 274

Bridge Center 48

Bridge window adjusting 51 main components 48

Bridge.

See

Adobe Bridge brightness in HSB color model 183

Bring Forward command 283

Bring To Front command 283 brochure templates 34

Browse command 50 browser-safe colors.

See

web-safe colors brush strokes applying 237 converting to outlines 238 removing 238

Brush Strokes effects and filters 430 brushes applying brush strokes 237 colorization options 242 creating 239 expanding 238 libraries of 236 modifying 239 options for 240, 241 tutorial 25 types of 236

Brushes palette 533 about 236

Build Cache For Subfolders command 53 bunri-kinshi 414 burasagari 398, 414 business card templates 34

cache about 53 setting centralized and distributed 53 calligraphic brushes 236, 240 camera data, adding to files 66 camera raw files in Bridge 48 capitalization, changing 375, 388 caps, for strokes 225

Cascade command 40 category axis, for graphs 516 certificate templates 34 certification 8

Chalk & Charcoal command 432

Change Case commands 375 character styles about 404

Character Styles palette 404 creating 404 deleting 405 editing 405 removing 405 characters

See also

type, formatting

Character palette 381 scaling 394 selecting 380 space between 386 special 389

Unicode 377

Charcoal command 432

Check Spelling command 374 choke trap 492 chroma 183

Chrome command 432 circular grids 150

Clean Up (Path) command 364

Clear command 288

Clear Guides command 43

INDEX

542

Clip To Artboard command 446 clipboard, importing and exporting artwork with 286 clipping masks about 309 creating 309, 310 modifying 310, 311

Close Window command 50 closed paths about 144 creating, with Pen tool 153, 155 creating, with Pencil tool 151

CMYK about 182 converting files to 185 process colors 188, 190 spot colors 188, 189, 191 tints 188, 192 collaborating, in Version Cue 90 collections in Bridge 60 color bars 476

Color blending mode 250 color blends, printing 481

Color Burn blending mode 249

Color Dodge blending mode 249

Color Halftone command 431 color lookup table, for GIF and PNG

8 images 459 color management

See also

color profiles, color settings about 198, 199, 200 appearance of CMYK black 203 basic steps for setting up 201 color settings reference 215 considerations for importing images 204, 205 considerations for printing documents 209 considerations for process and spot colors 203 creating a viewing environment 199 for online graphics 206 for PDF files 206, 210 soft-proofing colors 207, 209 synchronizing color settings 202 color models about 181, 184 changing, for document 185

CMYK 182 for images generated by effects 424 grayscale 184

HSB 183

Lab 183

RGB 181

Color palette about 186

Color Picker 185 color profiles about 211 assigning and removing from documents 214 converting to another profile 215 creating monitor profiles 212, 213 embedding in documents 214 for desktop printers 210 for imported images 204, 205 installing 213 warning messages for 217 color separations about 469 creating 470 host-based vs. in-RIP 471 preparing artwork for 470 problems with spot colors and transparent artwork 191 color settings

See also

color management color conversions 218 color management policies 217 customizing 215 for GoLive 202 for Illustrator, InDesign, and

Photoshop 202 presets for 215 rendering intents 218, 219 synchronizing with other applications 202 working spaces 216 color spaces about 181, 184

Colored Pencil command 429 colorizing grayscale images 196 symbols 177 colors

See also

color management, color models adjusting multiple colors 195 applying to objects 221, 222, 224 applying to type 381 blending 195, 196, 251 changing to complement 187 color-matching libraries 188, 189 converting to grayscale 195 global and non-global process 188,

190 gradients 251 in blending modes 248 in digital graphics 181 inverting 187 mixing 196 out-of-gamut 187 printable 187 process 188, 190, 191 range of 184 removing 227 saturating 196 selecting 185, 186 spot 188, 191, 192 swatches for 188

Swatches palette 189 tints 188, 192 web-safe 187, 442 column and marker designs.

See

graph designs

Column command (graphs) 523 column graphs

See also

graph designs, graphs about 510 entering data for 513 columns creating for text 367 fitting headlines across 368

Combine Slices command 446 combining objects about 300 with clipping masks 309 with compound paths 307 with compound shapes 301 with Pathfinder effects 304 comments entering for Version Cue projects 129 compact mode 50

Compact view of tutorials 7 complementary colors, changing to 187

INDEX

543

composite fonts creating 416 customizing 418 deleting 418 exporting 418 previewing in Font menu 383 composites printing 468 composition methods 400 compound paths about 300, 307 adjusting 308 creating 307 creating from strokes 228 fill rule for 308 filling holes in 308 releasing 309 compound shapes about 300, 301 creating 302 expanding 303 exporting to Photoshop 344 importing from Photoshop 304 modifying 303 releasing 303 tutorial 15 compression

Illustrator format 336

PDF 352

Conflicted Copies file status, in

Version Cue 96

Connect To command 88 conserving paper and film 474 consolidating layers 281 constraining movements 270

Conté Crayon command 432 content area 48 contextual alternates 393 continuous-tone images, printing 469

Control palette about 33 customizing 34

Convert Anchor Point tool 145, 161

Convert To Grayscale filter 195, 196

Convert To Profile command 215

Convert To Shape effect 315

Copy command 57, 270

Dark Strokes command 430

Darken blending mode 249 dashed lines 226 copying and pasting objects by dragging 285 about the clipboard 286 in a circular pattern 274 in front or in back 283 into layers 283 using commands 270 copyright information, adding 66 corner radius, changing 147 corners, rounding 315 correcting mistakes undoing last action 47

Craquelure command 433

Create (Threaded Text) command 368

Create From Guides command 445,

446

Create From Selection command 445, 446

Create Outlines command 378

Creative Suite color settings 202

Crop (Pathfinder) effect 305

Crop Area command 475

Crop Marks command 476 cropping artwork about 475 adding crop marks 476 basic procedure for 475 defining and editing the crop area 475

Crosshatch command 430

Crystallize command 431

Crystallize tool 290

CSS layers, generating 454 cursor, inserting in text 373 curves drawing, with Arc tool 149 drawing, with Pen tool 149, 154,

155, 156 printing 478 reshaping 157, 159 custom startup files 46

Cut command 57, 270, 288

Cutout command 429 cutting objects 288, 306 dashes, en and em 376 data sets about 508 creating 508 data-driven graphics

See also

variables about 505 creating variables 506 editing dynamic objects 507 editing variables 506 saving templates for 509 using data sets 508 using variable libraries 508 date and time, displayed in status bar 29

DCS file format importing 332

Decrease Font Size command 65

Decrease Rating command 59

Default Fill And Stroke button 223 default object attributes 420

De-Interlace command 434

Delete All command 447

Delete Anchor Point tool 145, 161

Delete command, in Version Cue 107

Delete Permanent command 110

Delete Workspace command 51

Deleted file status, in Version Cue 97 deleting empty type objects 364 files from Version Cue projects 108, 109 files permanently from Version

Cue projects 109 objects 288 optimization presets 455 projects in Version Cue 107 slices 446 versions with Version Cue

Administration utility 132

Deselect All command 56

Deselect command 269 designs, graph.

See

graph designs desktop printers color gamut of 184 color profiles for 210 developer resources scripting guides 8

SDK documentation 8 devices, color gamut of 184

INDEX

544

DIC color system 188 dictionaries about 377 editing 374

Difference blending mode 250

Diffuse Glow command 431 digital cameras, color gamut of 184 digital masters 346 dimensions, of web graphics 454

Direct Selection tool about 262 activating temporarily 157 selecting anchor points with 158 selecting paths with 158, 159 using 266 direction lines and points about 144, 157 moving 159 showing and hiding 158

Disconnect command 106 distances between points, measuring 44

Distort & Transform effect 315 distorting objects with effects 314 with envelopes 298 with Free Transform tool 297 with liquify tools 297 with the Free Distort effect 315 distributing objects 272 distributing objects 273 dithering about 458 optimization options 463

Divide (Pathfinder) effect 305

Divide Objects Below command 306

Divide Slices command 446 dividing objects 306 document clipping path, in

Photoshop files 334

Document Info command 359 document profiles.

See

color profiles document raster effects settings 424 documents adding multiple pages 37 changing default settings 46 considerations for creating 34 creating 34 opening 35 scaling 474 setting up 38, 39, 40, 42 unit of measurement for 42 documents folder, in Version Cue 87 downloading fonts 479 updates, plug-ins, and tryouts 9 downsampling in PDF files 352 dpi (dots per inch) 329, 472 dragging and dropping fills and colors 224 drawing

See also

brushes, symbols arcs 149 changing anchor points 161 ellipses 148 grids, circular (polar) 150 grids, rectangular 150 keyboard shortcuts for 527 lines 147 paths, with Pen tool 153, 154, 155,

156 paths, with Pencil tool 151 polygons 148 rectangles 147 spirals 149 stars 148 tutorial 12, 15 drop shadows creating 434 in graphs 518 options for 434

Dry Brush command 429 duotones imported from PDF files 331

Duplicate command 57

Duplicate Swatch command 193 duplicating

Version Cue projects 130 duplicating objects 270 by dragging 285 by pasting 270 in Layers palette 285 offsetting 287

DXF/DWG file format 340 dynamic objects 507

Edit Custom Dictionary command 374

Edit Original command 328

Edit Properties command 92

Edit Selection command 269

Edit Views command 40 effects

See also individual effect names

about 423 applying 423 applying to bitmap images 425 as appearance attributes 419 editing and deleting 426 raster 424 scaling 293 for SVG files 448, 449 why some are unavailable 424

Eject command 57

Ellipse tool 145, 148 embedded files

See also

linked files adding to a document 325 applying effects and filters to 425 compared to linked files 325 converting from linked files 328

EMF file format 341, 484

See also

exporting artwork emulsion options 471 en and em dashes, smart punctuation option 376 endpoints of paths 144 envelope templates 34 envelopes about 298 creating 299 editing 299 expanding or releasing 300 options for 300 resetting 299

EPS files options for saving 336 printing embedded files 332 problems with spot colors and transparent artwork 191 saving 336

EPS format compared to other formats 334 importing files 331

INDEX

545

Erase tool 145, 164

Every-line Composer 400

Exclude (Pathfinder) effect 305

Exclusion blending mode 250

EXIF 64

Expand (Blend) command 314

Expand (Envelope) command 300

Expand Appearance command 238,

285

Expand command 285

Expand Compound Shape command 303 expanding brushed paths 238 envelopes 300 flares 180 objects 284, 285 symbol instances 172 tracing objects 168

Export Cache command 53 exporting text 365

Version Cue projects 131 exporting artwork

See also

saving artwork compared to saving artwork 334

Microsoft-compatible format 340

PostScript format 337 procedure for 340 supported file formats 340

Extensible Metadata Platform

(XMP) 64 extra spaces, eliminating 376 extruding objects 317

Eyedropper tool about 222 copying attributes with 422 options for 422 using 422 using to change attributes 422

Feather effect 435 file browsing, with Bridge 48 file conflicts in Adobe Version

Cue 122 file conflicts, in Version Cue 121 file formats

AIT 35

ASCII 364

AutoCAD 340

BMP 341

DWG and DXF 340

EMF 341

EPS 336

GIF 341, 456

Illustrator (AI) 335

JPEG 341, 456

Photoshop 341

PICT 341

PNG 341

PNG-8 456

RTF 364

SVG and SVGZ 337, 447

SWF (Flash) 450, 456

Targa 341 text 364

TIFF 341

WMF 341

File Handling & Clipboard preferences 327, 332, 485

File Info command 66, 358 file locks, removing in Version

Cue 132 file name extensions

PDF/X-compliant report

(.log) 348

File Navigator command 51 file protection, in Version Cue 95 file size of web graphics 442 file status in Version Cue 96 file versions.

See

versions files

See also

documents, file formats batch renaming 63 batch-processing 503 creating 34 finding 60 labeling 59 linked vs. embedded 325 managing 57 navigating 55 opening in Bridge 56 opening in Illustrator 35 placing 325 placing, in Version Cue 101 rating 59 restoring 47 saving 334 selecting in Bridge 56

Fill & Stroke (Select Same) command 227, 269

Fill button 223

Fill Color (Select Same) command 227, 269 fills

See also

colors, gradients, patterns about 221, 222 applying multiple 227 applying to objects 224 as appearance attributes 419 converting to objects 285 creating multiple 227 default 223 hiding 39, 40 keyboard shortcuts for 530 removing 227 switching with stroke color 223 film base 471 conserving 474

Film Grain command 429

Filmstrip Focus command 51 filters

See also individual filter names

about 423 applying 423 applying to bitmap images 425 installing 46 why some are unavailable 424

Find And Replace command 375

Find command 60

Find Next command 375 finding files and folders, with

Bridge 60 first baseline offset 366

First Column In Front option, for graphs 517

First Object Above (Select) command 269

First Row In Front option, for graphs 517

Fit Headline command 368

Fit In Window command 38

Flare tool 145 flares about 179 drawing 179

INDEX

546

editing 180 options for 180

Flash file format.

See

SWF format

Flash graphics about 450, 456 creating animations 451 options, in Save For Web dialog box 461 saving, with Export command 342 saving, with Save For Web command 452

Flatten Transparency command 490

Flattener Preview palette 41, 488 flattening about 484 during printing 485 individual objects 490 layers 281 presets for 489 previewing 487 transparency in PDF files 356 flexographic printing 474 floating boxes.

See

CSS layers

FOCOLTONE color system 188 folders finding 60 managing 58 navigating 55 understanding in Version Cue 87 font size changing in Metadata panel 65 fonts about 382 choosing 383 composite 416, 418 downloading 479 embedding 337, 479 finding and replacing 383 free 382 missing 384

OpenType 391 previewing 383 printer-resident 479 forums 8 four-color process printing 182 fractional character widths 387 fractions in OpenType fonts 394 inserting with Smart Punctuation command 376

Free Distort effect 315

Free Transform tool about 290 distorting objects with 297 reflecting objects with 276 rotating objects with 274 shearing objects with 296

Fresco command 429, 434

FTP server exporting Version Cue projects to 131 publishing Version Cue projects to 128, 129 specifying an FTP proxy server in

Version Cue 126 full screen mode 29 function keys 536

gamut, of colors 184, 187, 198

Gaussian Blur command 430

General preferences

Anti-aliased Artwork 41

Append Converted Upon Opening

Legacy Files 360

Bridge 52

Corner Radius 147

Disable Auto Add/Delete 160

Keyboard Increment 271, 529

Object Selection By Path Only 264

Scale Strokes & Effects 293

Select Same Tint % 227

Show Tool Tips 31

Transform Pattern Tiles 292

Use Japanese Crop Marks 476

Use Precise Cursors 31

Use Preview Bounds 44

GIF file format about 456 customizing colors for web viewing 459 optimizing and saving 452 options, in Save For Web dialog box 457 saving, with Export command 341

Glass command 431, 434

Global Positioning System (GPS) data 64 global process colors 188, 190

Glowing Edges command 433 glows, creating 435 glyphs about 389

Asian 406, 407 fractions and ordinals 394

Glyphs palette 389 highlighting 390 in OpenType fonts 391 inserting 390 ligatures and contextual alternates 393 numbers 392

OpenType fonts 391 replacing 390 spacing of 396 swashes 393

GoLive.

See

Adobe GoLive

Goodies folder 9

GPS information in files 64, 65

Gradient palette 251, 534

Gradient tool 222

Gradient tool, measuring coordinates with 44 gradients about 251 applying last-selected 223 applying to objects 224, 251, 252 calculating maximum blend length 483 changing direction of 252 creating and modifying 252 creating new 252 in graphs 516 in SWF (Flash) files 451 keyboard shortcuts for 530 printing 252, 481 proper screen frequency for printing 482 spot colors 252 swatches for 188, 193

Grain command 433, 434 graph designs about 520 applying 523, 524 creating 522, 523 importing 521 reusing 524

Graphic Pen command 432 graphic styles about 438 applying 439

INDEX

547

applying to symbols 178 breaking the link to 440 creating 439, 440 deleting 439 duplicating 439

Graphic Styles palette 440 importing from another document 441 libraries 439, 441

Override Character Color option 439 renaming 439 replacing 441 tutorial 19 graphs assigning scales to axes 517 changing type of 516 combining types 519 creating 511 entering data for 512, 513, 514, 515 gradients in 516 labels 513 legends 518 types of 510 variables in 505, 506, 507 graphs, formatting about 515 adding drop shadows 518 axes 516 columns, bars, and lines 517 pie graphs 518 selecting parts of 520 text 520 gray levels, for printing 482 grayscale images about 184 colorizing 196 converting color to 195 greeking type 384 greeting card templates 34 grids circular (polar) 150 creating 306, 307 rectangular 150 using with artwork 42

Group command 284

Group Selection tool 262, 266 groups about 284 creating 284 nested 284 selecting in Layers palette 263 selecting objects within 265, 266 selecting with Group Selection tool 266 selecting with Selection tool 265 viewing as outlines 40 guides creating 43 locking, deleting, and releasing 43 showing and hiding 42

Smart Guides 43 snapping objects to 43 types of 42

Guides & Grid preferences 42

GyoumatsuYakumonoHankaku mojikumi set 411

GyoumatsuYakumonoZenkaku mojikumi set 411

Halftone Pattern command 432 halftoning, resolution for 472

Hand tool 37, 38 hanging punctuation 397

Hard Light blending mode 249

Hard Mix effect 196 headlines, fitting in columns 368

Help system

PDF version of 8 tutorials in 7 hidden tools 31 hiding.

See

showing and hiding hiragana fonts 406 history information, adding to files 66

HKS color system 188 horizontal (landscape) page orientation 474 horizontal type, converting to vertical 394 host-based separations 471 hotspots, in web graphics 447

HSB color model 183

HTML files generating 452 settings for 464

HTTP Proxy server, specifying in

Version Cue 126 hue 183

Hue blending mode 250 hyphenation composition methods and 400 options 399 preferences 377, 399 preventing breaks 399 turning off 398

ICC profiles

See also

color profiles displayed in status bar 29 embedding in files 336, 342, 344,

345 in JPEG files 460

IDs, in Version Cue 134

Illustrator file format compared to other formats 334 options for 335 saving files in 335

Illustrator performance, improving 425 image exposure 471 image maps about 447 compared to slices 447 creating 447 output settings for 465 image resolution 329

Image Size palette 454

Import SVG Filter command 449

Import Version Cue 1.0 Data command 126 importing

DCS files 332

EPS files 331 monotone, duotone, and tritone images 331 part of image from Photoshop 334 paths from Photoshop 334

PDF files 330

Photoshop files 333 swatches from another document 194 text files 286, 364 in ports 368

In Use By file status, in Version

Cue 96

INDEX

548

In Use By alerts in Version Cue 98

In Use By Me file status, in Version

Cue 96

Increase Font Size command 65

Increase Rating command 59 indenting text 397, 403

InDesign.

See

Adobe InDesign

Info palette about 44

Ink Outlines command 430 ink preview 41

Inner Glow effect 435 input device profiles 211, 213 in-RIP separations 471 inset spacing for type 366 installation, software 1 instances, symbol 170 interactivity adding to SVG files 449 creating with CSS layers 454 interlacing, of web graphics 458, 461

International Color Consortium

(ICC) 200

Intersect (Pathfinder) effect 305

Inverse (Select) command 268

Invert Selection command 56 inverting colors 187

IPTC (IIM, legacy) 64

IPTC Core 64

IPTC information 64

IPTC metadata, editing 66

Japanese type.

See

type, Asian

JavaScript 449, 504

Join command 164 joins, for strokes 225

JPEG files about 456 export options for 342 optimizing and saving 452 options, in Save For Web dialog box 460 justifying paragraphs 396

kerning 386, 387 keyboard shortcuts customizing 525 editor 525 keywords, applying to files, in

Bridge 68 kinsoku about 413 alignment of text 414 creating new sets 413 importing and exporting sets 414 settings 413

Knife tool 306, 307, 444 knockouts creating transparency knockouts 244 preventing using overprinting 490 varying transparency knockouts 247 kurikaeshi moji shori 415

Lab color model 183

Label commands, in Bridge 59 label templates 34 landscape (horizontal) page orientation 474 language assigning in Bridge 53 assigning to text 377

Unicode support 377

Lasso tool about 262 selecting anchor points with 158 selecting paths with 158, 159 using 265, 266

Last Object Below (Select) command 269 layer comps, in Photoshop files 333 layers about 278 adding objects to 282 changing stacking order 283 consolidating 281 converting to CSS layers 454 creating 280 duplicating objects in 285 exporting to Adobe Photoshop 344 groups within 284 hiding 288 locating items in 282 locking and unlocking 287 making nonprintable 468 moving objects between 280 options for 280 pasting objects into 283 preserving in Adobe Acrobat 352 releasing objects to 281 selecting objects in 262, 263 stacking order 282 template 169 viewing as outlines 40

Layers palette 278, 279, 420 leading about 385 in Asian type 415 setting 385 legacy text 360 legends, for graphs 518 letter spacing 386, 396 letterhead templates 34 levels of gray 482 libraries brush 236 graph design 521 graphic style 439 swatch 188, 189 symbol 170, 172 ligatures about 393 inserting with Smart Punctuation command 376 using in OpenType fonts 393

Lightbox command 51

Lighten blending mode 249 lighting 3D objects 317, 318 limit-check error 472, 478 line breaks showing 373 line graphs

See also

graph designs, graphs about 510 entering data for 513

Line Segment tool 145, 147 lines

See also

paths, strokes adding arrowheads 226 adding to, with Pencil tool 151 changing width of 224 connecting, with Pencil tool 152 dashed 226 drawing, with Line Segment tool 147

INDEX

549

drawing, with Pen tool 153, 154,

155, 156 drawing, with Pencil tool 151 lengthening or shortening 159 reshaping, about 157 reshaping, with Pencil tool 152 trapping 495 lining numbers 392

Linked File variables 505, 506, 507 linked files 40 adding to a document 325 applying effects to 425 color management considerations 204, 205 compared to embedded files 325 editing original file 328 embedding 328, 335 in Version Cue 101 placement options for 327 previews for EPS files 332 relinking 327 showing in Outline mode 39 updating 327 viewing information for 326 linking type objects 368

Links palette about 326 replacing placed files with alternates 103 replacing placed files with previous versions 104 using with Version Cue project files 102 viewing alternates and versions in 103 liquify tools 297, 298 live effects.

See

effects

Live Paint about 228 adding to group 232 compared to traditional painting 221 converting objects to 233 creating from tracing objects 168 creating group 232 expanding and releasing groups 233 finding gaps 235

Gap Detection options 235 keyboard shortcuts for 530 limitations 231 options 234 painting faces and edges 233

Live Paint Bucket tool 222

Live Paint Selection tool about 222, 262 options for 268 using 267

Lock All Layers command 287

Lock Guides command 43 lock protection, in Version Cue 129,

132 locking objects 287 logins creating in Version Cue

Administration utility 134 entering in Version Cue

Administration utility 123 privilege levels, in Version Cue 136 logs, in Version Cue 126, 138 lpi (lines per inch) 329, 472

Luminosity blending mode 250

Macromedia FreeHand, importing paths from 308

Magic Wand tool 262, 267 magnifying artwork 38

Make (Blend) command 312

Make (Clipping Mask) command 309

Make (Compound Path) command 307

Make (Crop Area) command 475

Make (Envelope) commands 299

Make (Slice) command 444

Make Alternates command, in

Version Cue 118

Make Guides command 43

Make Primary Alternate command, in Version Cue 117

Make Text Wrap command 370

Manage Workspaces command 45 mapping 3D objects 323

Mark In Use command 120

Marker command (graphs) 524 marker designs.

See

graph designs masks clipping 309 opacity 245, 246 splitting 478 master files, in Version Cue 94 mathematical operations in text boxes 33

Measure tool 44, 222

Memory Usage preference 85 menu bar, hiding 29

Merge (Pathfinder) effect 305 merging

See also

combining objects layers 281 objects 300 swatches 193 mesh grid envelopes 298

Mesh tool 222, 253, 254 meshes about 251, 253 creating 253 editing 254 in SWF (Flash) files 451 metadata about 64, 357 adding to documents 66 appending 68 applying as templates 68 editing 65 preferences for 66 replacing 68 searching for, in Version Cue 104 specifying types to display in

Metadata panel 66, 68 templates 67 viewing 65

Metadata Focus command 51

Metadata panel 64 metadata, specifying types to display in Metadata panel 67

Mezzotint command 431

Microsoft importing text from 364 saving files for 340

Visual Basic 504 migrating to Adobe Version Cue

2.0 126

Minus Back (Pathfinder) effect 305 misregistration of inks 492 mistakes, undoing 47 miter options 225

Mojikumi about 411 creating sets 412

INDEX

550

importing and exporting sets 412 selecting a set 411 monitor profiles 211, 212, 213 monitors color gamut of 184 monotones, imported from PDF files 331

Move command 271

Move To Recycle Bin command 58

Move To Trash command 57, 58 moving objects about 269 aligning and distributing 272 by dragging 270 by pasting 270 constraining movement 270 keyboard shortcuts for 528

Smart Guides 43 snapping to points 270 to a different layer 280 using arrow keys 271 with Move command 271 with Transform Each command 272 with

coordinates 272 multinational language features 364

Multiple Master fonts 383

Multiply blending mode 249

Navigator palette 39 negative film 471

Neon Glow command 429 nested groups 284 new files, creating 34

New Folder command 58

New Project command 91

New View command 40

New Window command 50

Next Object (Select) commands 269

No Break command 399

No Label command 59

No Rating command 59

No Working Copy file status, in

Version Cue 96

None button, for fills and strokes 223

None privilege, in Version Cue 136

None swatch, for fills and strokes 188 non-global process colors 190 non-native art 331 nonprintable area 36 nonprinting characters 373 nonrecordable tasks, in actions 500

Normal blending mode 249

Note Paper command 432

NTSC Colors command 434 number of undos and redos 29 numbers, formatting 392

Object (Select) commands 269 objects

3D.

See

three-dimensional objects aligning and distributing 272 combining 300, 307 creating layers from 281 cutting or dividing 306 default attributes 420 deleting 288 duplicating 285 expanding 284, 285 hiding 288 locking and unlocking 287 masking 309 moving 269 offsetting 427 organizing with layers 278 positioning 292 rasterizing 437 reflecting 276 reshaping 298, 314 rotating 273 scaling 293 selecting 262 shearing 295 stacking order of 282 viewing 278 warping 315

Ocean Ripple command 431

Offline Copy file status, in Version

Cue 96 offset objects, creating 427

Offset Path command 287 oldstyle figures 392 online training 8

Only Copy file status, in Version

Cue 96

Opacity (Select Same) command 244,

269 opacity masks about 245 clipping or inverting 247 creating 246 working with 246 opacity.

See

transparency

Open command

Adobe Photoshop files 333

DCS files 332

EPS files 331 in Bridge 56

PDF files 330

Open file status, in Version Cue 96 open paths about 144 creating, with Pen tool 153, 155 creating, with Pencil tool 151

Open With Camera Raw command 56

Open With command 56

Opening and closing files, in

Bridge 50

OpenType fonts about 391

Asian type options 406 fractions and ordinals 394 ligatures and contextual alternates 393 number styles 392

OpenType palette 391 previewing 383 swashes 393 optical margin alignment 398 optimizing web graphics basic procedure for 452 creating actions for 500 creating and deleting presets 455 estimating download time 453 file formats for 456 generating CSS layers 454

GIF options 457, 459

JPEG options 460

PNG-24 options 460

PNG-8 options 457, 459 previewing results 455 resizing images 454

Save For Web dialog box 452 specifying file size 453

SVG options 462

SWF options 461

INDEX

551

options, at top of work area 33, 34 ordinals 394

Other Layers (Hide) command 288

Other Layers (Lock) command 287

Other Library command 194 out ports 368

Outdated Copy file status, in Version

Cue 96

Outer Glow effect 435

Outline (Pathfinder) effect 305

Outline Object effect 378

Outline Stroke command 228 outlines, viewing 39, 40 out-of-gamut colors about 184 shifting 187 output device profiles 210, 211, 213 overflow text 361, 368

Overlay blending mode 249

Overprint Black command 491

Overprint Preview command 490 overprinting black 490, 491 discarding 491 fills 491 in PDF files 356 previewing 41, 490 simulating 491 trapping by 495, 496 oversized documents, printing 474

page information, printing and 476

Page tool 37, 473 pages adding 37 size 473, 474 viewing edges of 36

Paint Bucket tool 224

Paint Daubs command 429

Paintbrush tool 222, 237, 238 painting

See also

colors, fills, Live Paint, strokes about 221 tools for 222 painting order.

See

stacking order

Palette Knife command 429 palettes

See also individual palette names

considerations for using 31, 32 keyboard shortcuts for 532

PANTONE color system 188 paper stretch, during printing 493 paragraph styles about 404 creating 404 deleting 405 editing 405 removing 405

Paragraph Styles palette about 404 paragraphs aligning 396 hyphenation 398, 399 indenting 397 justifying 396

Paragraph palette 395 spacing between 397 word and letter spacing 396

Paste command in Bridge 57

Paste commands 270, 283

Patchwork command 433

Path Type tool 361

Pathfinder effects about 304 applying 304, 305

Hard and Soft Mix 196 options for 306

Pathfinder palette 302 summary of 305 paths

See also

anchor points, lines, shapes about 144 adding to 151 brushed 237 compound 300, 307 connecting 152 copying to and from

Photoshop 286, 334 direction lines and points on 157 drawing, with Pen tool 153, 154,

155, 156 drawing, with Pencil tool 151 erasing 164 joining and splitting 164, 478 lengthening or shortening 159 reshaping 152, 157, 159 selecting 158, 159 self-intersecting 308 simplifying 163 stretching without distorting 160

SVG file format and 448 viewing without fills and strokes 39, 40 wavy and Zig Zag 315 pattern brushes 236, 241 patterns about 255 and blended objects 312 applying to objects 224 bounding box for 255 corner tiles 259 creating 256 expanding 285 irregular 258 modifying 260 preferences 292 rotating 271, 274 scaling 294 seamless 257 shearing 296 swatches for 188

SWF (Flash) files and 451 tiling 255 transforming 292

PDF files about 346 adding security 356 bleed 354 color management considerations 206, 210 compared to other formats 334 compression 352 downsampling 352 flattening transparency 356 importing 330 non-native art in 331 overprinting 356 placement options 330 presets 348, 349 saving, general 346 saving, with layers 347 saving, with multiple pages 346 transparency in 484, 485

INDEX

552

PDF version capabilities 351

PDF/X-compliant files color management considerations 210 creating 347 options 355 standards 351

Pen tool about 145 adding anchor points with 160 deleting anchor points with 160,

161 drawing curves 154 drawing curves and lines 155 drawing straight lines 153 drawing two curves connected by a corner 156 measuring coordinates with 44

Pencil tool about 151 adding to paths 151 connecting paths 152 drawing closed paths 151 drawing open paths 151 options for 153 reshaping paths 152 performance improving 425

Persistent command 68, 188

Photocopy command 432

Photoshop.

See

Adobe Photoshop picas 42

PICT file format

See also

exporting artwork about 341 flattening during export 484 picture clippings, dragging to desktop 286 pie graphs

See also

graph designs, graphs about 510 entering data for 515 formatting 518

Pixel Preview mode 41, 442

Pixelate effects and filters 431 pixelation, causes of 329, 330 pixels about 328 per inch (ppi) 329

Place command about 325

Adobe Photoshop files 333

DCS files 332

EPS files 331 in Bridge 57 in Version Cue 101

PDF files 330

Plaster command 432

Plastic Wrap command 429 plug-ins 9 about 46 in Adobe Store 9

Plug-ins & Scratch Disks preferences 46

PNG file format export options 345 saving, with Export command 341

PNG-24 file format about 456 optimizing and saving 452 options, in Save For Web dialog box 460

PNG-8 file format about 456 customizing colors for web viewing 459 optimizing and saving 452 options, in Save For Web dialog box 457 point size 384 point type 361, 362 pointer 31

Pointillize command 431 points, as a unit of measurement 42

Polar Grid tool 145, 150

Polygon tool 145, 148

Portable Document Format (PDF).

See

PDF files portrait (vertical) page orientation 474 positive film 471 post card templates 34

Poster Edges command 429

PostScript file format 337

PPD files about 477 and page size 474 for imagesetters 472 versions 477 ppi (pixels per inch) 329 preferences

See also specific preferences categories

about 45 restoring 45

Preferences command in Bridge 52 presets

See also

libraries actions 502 flattening 489

PDF 348, 349 printer 496 tracing 168 web optimization 455 press bleed 477

Preview command 40 previewing colors.

See

soft-proofing colors previews, for EPS files 332 print bounding box 475

Print command 468 printable area 36 printable colors 187 printer resolution 472 printer styles 496 printer’s marks about 476 printer-resident fonts 479 printing

See also

color separations as bitmap 490 bleed 477 color blends 481 color management considerations 209 composites 468 continuous-tone images 469 curves 478 effects and filters 426 embedded EPS images 332 file and error information 359 gradients 252, 481 gray levels 482 limit-check error 478 making artwork nonprintable 468 multiple pages 37 objects on all plates 471 on multiple pages 473

INDEX

553

oversized documents 474

PostScript level 479 transparent artwork 484 process colors about 190, 469 and blended objects 312 color management considerations 203 creating swatches for 191 global 188 in Swatches palette 188 tints 192 projects, sharing using Version Cue

Administration utility 129

Promote To Current Version command 114

Proof Setup command 207

Proximity language dictionaries 377 proxy view area 39 publishing

Version Cue projects with

GoLive 128

Pucker & Bloat effect 315

Pucker tool 290 punctuation hanging 397 smart 376

Purge Cache For This Folder command 53

Purge Central Cache command 53

Q (unit) 42 quotation marks

curly or straight 373 smart 376 radar graphs

See also

graph designs, graphs about 510 entering data for 513

Radial Blur command 430 raster images. rasterization of type 379

See

bitmap images created by effects 424 improving performance 425 of artwork during printing 490 of vector graphics 437 options for 424 previewing 442 rating files, in Bridge 59 recent files, opening 35

Rectangle tool 145 rectangles drawing 147 splitting an object into 306

Rectangular Grid tool 145 rectangular grids 150 reference material 8 reference point, for rotating 273

Reflect command 277

Reflect tool 276, 290 reflecting objects 276 reflecting type 379

Refresh command 55

Refresh command, in Version Cue 88 registration color 188, 471 registration marks 476

Release (Blend) command 314

Release (Clipping Mask) command 311

Release (Compound Path) command 309

Release (Crop Area) command 475

Release (Envelope) command 300

Release (Slice) command 447

Release Compound Shape command 303

Release Guides command 43

Release Selection (Threaded Text) command 369

Release Text Wrap command 370

Release To Layers command 281 relinking files 327

Remove From Favorites command 58

Remove Threading (Threaded Text) command 369 removing software 1 removing working copies, in Version

Cue 105 renaming files 63 rendering intents 219

Replace Spine command 313

Repopulate Views command 452

Reselect command 227, 268

Reset Bounding Box command 292

Reset To Default Workspace command 51

Reshape tool 160, 290 reshaping objects.

See

distorting objects, transforming resizing objects.

See

scaling objects resizing web graphics 454 resolution in bitmap images 329 of bitmap images 329 of images generated by effects 424 of printer 329, 472 of web graphics 442

Resources and Extras CD 8 restarting Version Cue 84

Restore command, in Version

Cue 109

Reticulation command 432

Reveal In Bridge command 57, 83, 97

Reveal In Explorer command 57

Reveal In Finder command 57

Reverse Spine command 313 reversing paths 308

Revert command 47

Revert To Last Version command 114 revolving objects 317

RGB about 181 converting files to 185 right reading.

See

emulsion

RIP (raster image processor) 471 roman hanging punctuation 398

Rotate 180˚ command 58

Rotate 90˚ Clockwise command 58

Rotate 90˚ Counter-clockwise command 58

Rotate command 274

Rotate tool 274, 290 rotating images 58 rotating objects about 273 by specific angle 274 three-dimensional 318 with bounding box 274 with Free Transform tool 274 with Rotate tool 274 with Transform Each command 275 with Transform palette 275 rotating patterns 271, 274 rotating symbols 177

INDEX

554

rotating type 379, 394 rotating x and y axes of documents 275

Rough Pastels command 430, 434

Roughen effect 315

Round Corners effect 315 round joins 225

Rounded Rectangle tool 145, 147 rows of text, creating 367

RSS feeds 8, 61

RTF file format 364 rulers about 41 origin 41 showing and hiding 41 unit of measurement for 42

Saturate filter 196

Saturation blending mode 250 saturation, defined 183

Save A Version command 111

Save For Microsoft Office command 340

Save For Web dialog box 452

Save Selection command 269

Save Workspace command 45, 51 saving artwork

See also

exporting artwork about 334

EPS format 336

Illustrator (AI) format 335

SVG and SVGZ format 337 transparent 484

Scale command 294

Scale tool 290, 293 scaling documents when printing 474 scaling objects about 293 with bounding box 294 with Scale command 294 with Scale tool 293 with Transform Each command 295 with Transform palette 294 scaling symbols 176 scaling type 394

Scallop tool 290 scanners, color gamut of 184 scatter brushes 236, 240 scatter graphs 514

Scissors tool 164, 444 scratch area 36 screen blending mode 249 screen frequency about 329, 472 changing 472 for gradients, meshes, and blends 482 screen layout, saving 45

Scribble effect 436 scripting guides for 8 resources for 8 scripting guides

Adobe Bridge 62 for developers 8 scripts about 504 in SVG files 449 using 504 scroll bars, hiding 29

SDK documentation 8 searching in Version Cue projects 104 searching for files and folders 60 security assigning user IDs in Version

Cue 134 in PDF files 356 segments, path 144

Select Again command 227

Select All command 56, 269

Select Labeled command 56

Select Unlabeled command 56 selecting files, in Bridge 56 type 380 selecting objects about 262 anchor points 158 by characteristic 269 by face or edge 268 by fill or path 264 by opacity 244 faces and edges in Live Paint groups 267 groups 265, 266 keyboard shortcuts for 528 next in stacking order 269 paths 158, 159 with Lasso tool 265 with Magic Wand tool 267 with the Layers palette 263 with the same tint 227 with the Selection tool 264

Selection tool about 262, 264, 265 selections saving 269

Send Backward command 283

Send To Back command 283

Send To Current Layer command 280

Send To Recycle Bin command 57 separations.

See

color separations shading 3D objects 317, 318 shapes arcs 149 blending 251 compound 300, 301 drawing, with Pen tool 153 drawing, with Pencil tool 151 ellipses 148 grids, circular (polar) 150 grids, rectangular 150 polygons 148 rectangles 147 rounded rectangles 147 spirals 149 stars 148

Share Project command 93 sharing projects

Adobe Creative Suite 93, 94 using Version Cue Administration utility 129

Sharpen effects and filters 428

Sharpen filters and effects 432

Shear command 296

Shear tool 290, 295 shearing objects about 295 repeating 290 with Free Transform tool 296 with Shear command 296 with Shear tool 295 with Transform palette 296 shearing type 379

INDEX

555

shortcuts customizing 525 shortcuts.

See

keyboard shortcuts

Show All command 288

Show All Files command 55

Show Camera Raw Files Only command 55

Show File In Browser command 117

Show Folders command 55

Show Graphic Files Only command 55

Show Hidden Files command 55

Show Thumbnail Only command 54

Show Vector Files Only command 55 showing and hiding anchor points 158 artboard 36 artwork 288 bounding box 292 direction lines and points 158 gridlines 42 guides 42 hidden characters 373 layers 288 objects 288 objects, using variables 505, 506,

507 palettes 31 rulers 41 slices 447

Smart Guides 44 template layers 169 tool tips 31 unselected artwork 527 sidecar files 64

Simplify command 163 simulating colored paper 38

Single-line Composer 400

Sketch effects and filters 428

Sketch filters and effects 432 skewing.

See

shearing objects slanting.

See

shearing objects

Slice Selection tool 444

Slice tool 444, 445, 446 slices about 443 auto 444 compared to image maps 447 deleting and releasing 446 output settings for 464, 465 saving in SVG format 339 showing and hiding 447 viewing 444

Slideshow command 54 small caps 388

Smart Guides 43, 44

Smart Guides & Slices preferences 44

Smart Punctuation command 376

Smooth tool 145, 163

Smudge Stick command 430

Snap To Pixel command 442

Snap To Point command 270 snapping 42, 43, 44

Soft Light blending mode 249

Soft Mix effect 196, 197 soft return 532 soft-proofing about 41, 207 in GoLive 209 in Photoshop, Illustrator and

InDesign 207 software downloads 9 installing 1 plug-ins 9 removing 1

Sort command 55 spacing between objects 287, 427 between words and letters 396 type around curves 372

Spatter command 431 special characters about 389

Asian 406, 407 fractions and ordinals 394 highlighting 390 in OpenType fonts 391 inserting using Glyphs palette 390 ligatures and contextual alternates 393 numbers 392

OpenType palette 391 replacing using Glyphs palette 390 swashes 393 spell-checking about 374 editing dictionaries 374 spine, of blend 313 spinning.

See

Twist effect

Spiral tool 145, 149 spirals, drawing 149

Split Into Grid command 306, 307 splitting paths to print complex shapes 478 with the Scissors tool 164

Sponge command 430 spot colors about 191, 469 color management considerations 203 creating swatches for 192 displaying Lab values 189 in blended objects 312 in gradients 252 in Swatches palette 188 problems exporting 191 tints 192

Sprayed Strokes command 431 spread trap 492 sRGB color space 206, 216 stacking order about 282 adding new objects to 282 changing 283 layers and 278

Stained Glass command 433

Stamp command 433 standard screen mode 29

Star tool 145, 148 stars, drawing 148 stars, rating files with 59 startup files 46 status bar 29

Stock Photo accounts benefits 77 changing information 78, 79 creating 77 signing in 78

Stock Photos.

See

Adobe Stock

Photos straight quotes 373, 376

Stray Points command 161 strikethrough type 388 stroke attributes 225

Stroke Color (Select Same) command 227 stroke color, selecting objects with same 267, 269

INDEX

556

Stroke command 494

Stroke palette 223

Stroke Weight (Select Same) command 227, 269 strokes about 221, 222 applying multiple 227 as appearance attributes 419 changing caps and joins 225 changing properties 224 converting to objects 285 converting to outlines 228 creating multiple 227 dashed and dotted 226 default 223 hiding 39, 40 keyboard shortcuts for 530 removing 227 scaling 293 switching with fill color 223 unit of measurement for 42

Style (Select Same) command 269 styles.

See

graphic styles, paragraph styles, character styles

Stylize effects and filters 428, 433 sublayers.

See

layers subscript type non-OpenType fonts 388

OpenType fonts 392 size and position of 389

Subtract (Pathfinder) effect 305 subtractive colors 182

Sumi-e command 431 superior.

See

superscript type superscript type non-OpenType fonts 388

OpenType fonts 392 size and position of 389 support options 6

See also Help

SVG (scalable vector graphics) about 447 compared to other formats 334 designing 448 effects 448, 449 events 450 saving, with Save As command 337, 338 saving, with Save For Web command 452, 462 scripting 449 variables in 507, 509 swashes in type 393 swatches about 188 deleting 193 display and output of spot colors 189 duplicating 193 gradient 193 importing 194 libraries 188, 194 merging 193 options for 192 process 191 replacing 193 sharing between applications 204 spot 192

Swatches palette about 189

SWF files.

See

Flash graphics

SWF format about 456

Switch To Compact Mode button 50

Switch To Full Mode button 50

Symbol Instance (Select Same) command 269

Symbol Screener tool 174, 177

Symbol Scruncher tool 174, 176

Symbol Shifter tool 174, 176

Symbol Sizer tool 174, 176, 177

Symbol Spinner tool 174, 177

Symbol Sprayer tool 174, 175, 176

Symbol Stainer tool 174, 177

Symbol Styler tool 174, 178 symbols about 170 and blended objects 312 applying graphic styles to 178 as 3D object surface 323 changing color of 177 changing stacking order of 176 changing transparency of 177 creating 170, 172 duplicating 170, 171 editing symbol instances 171 expanding 172, 285 importing from another document 173 in Flash animations 450 libraries 170, 172 moving from library to palette 171 placing multiple instances 175 placing one instance 171 pulling together or apart 176 renaming 170 resizing 176 rotating 177 selecting all instances 171 sets of 173, 175, 176 shifting 176

SVG file format and 448 symbolism tools 174 tutorial 12

Symbols palette 170, 171

Synchronize command, in Version

Cue 121

Synchronized file status, in Version

Cue 96 synchronizing color settings 200, 202 files, in Bridge 121 files, in Version Cue 121

System Administrator privileges, in

Version Cue 136

tables, in web graphics 465 tabs adding leaders 403 decimal 403 moving tab stops 402 removing tab stops 402 repeating tab stops 402 setting indentions 403 setting tab stops 401 showing and hiding 373

Tabs palette 400

Targa file format

See also

exporting artwork about 341 targeting 420 tate-chu-yoko 408 technical resources 8 technical support complimentary and paid 6 on Adobe.com 8

INDEX

557

template layers converting to regular layers 169 creating 169 showing and hiding 169 templates about 34 creating 35 for data-driven graphics 505, 509 using 34 text boxes entering values in 32 units for 42

Text String variables 505, 506, 507 text threads, showing and hiding 368 text.

See

type

Texture effects and filters 433

Texturizer command 433 texturizing, in effects and filters 434 threaded text frames about 368 creating 369 three-dimensional objects about 316 custom bevels for 320 extruding 316, 317 lighting 318 mapping images to surface 323 revolving 316, 317 rotating 318 surface shading 317, 318 thumbnails in EPS files 337 in PDF files 352 tick values and marks, for graphs 516

TIFF file format

See also

exporting artwork about 341 tiling 37, 40, 473

Tint Reduction value 494 tints 188, 192 tips and tricks 7 titling characters, in type 393 tool pointer 31 tool tips 31, 52 toolbox 31 tools

See also individual tool names

hidden 31 keyboard shortcuts for 525, 526 selecting 31 tearing off in separate palettes 31

Tools commands, in Bridge 62

Top-to-top leading 415

Torn Edges command 433

Total Training 7

TOYO color system 188 tracing artwork adjusting tracing results 166 automatically 165 converting tracing objects 168 display of tracing objects 166 methods 165 options 167, 168 presets for 168 releasing tracing objects 169 tracing object, defined 166 tracking 386, 387 training 7, 8

Transform Again command 275

Transform Each command moving objects 272 rotating objects 275 scaling objects 295

Transform effect 315

Transform palette about 291 transforming about 290 moving objects precisely 271, 272 moving objects uniformly or randomly 272 patterns 292 rotating objects 275 tools for 290 transforming objects distorting 297 keyboard shortcuts for 531 liquifying 297 reflecting 277 rotating 274 scaling 293 shearing 295 with Smart Guides 43 transparency

See also

flattening about 243 adding to symbols 177 applying 243 as appearance attributes 419 creating knockout groups 244 file formats that preserve 485 masks 245, 246 printing and saving 484 resources for developers 8 saving 336, 337 selecting objects with same 244,

267 using to shape a knockout 247 in web graphics 458, 460

Transparency Flattener Presets command 489

Transparency palette about 243

Trap command 492, 493 trapping converting spot colors to process 494 creating traps 492 horizontal and vertical trap values 493 lines 495 reverse traps 494

Trim (Pathfinder) effect 305 trim marks 476 tritones, imported from PDF files 331

TrueType fonts 383

Trumatch color system 188 tryouts 9 tutorials 7, 12

Tweak effect 315

Twirl tool 290

Twist effect 315 type importing and exporting 365 threading between objects 368 unit of measurement for 42

Type 1 fonts 383 type blocks.

See

area type

Type On A Path tool 363 type on paths about 361 creating 363 effects for 371 flipping and moving text on 370 spacing around curves 372 vertical alignment 372

INDEX

558

Type preferences

Baseline Shift 532

Font Preview Size 383

Greeking 384

Number Of Recent Fonts 383

Show Asian Options 406

Show Font Names In English 406

Size/Leading 532

Tracking 532

Type Object Selection By Path

Only 380

Type tool 361, 362, 363 type, Asian aki 407 aligning characters in 410 bunri-kinshi 414 burasagari 414 composite fonts 416, 418 glyphs 407 kinsoku sets 413, 414 kurikaeshi moji shori 415 leading 415 mojikumi sets 411, 412

OpenType fonts 406 rotating half-width characters 409 showing Asian type options 406 tate-chu-yoko 408

Unicode support 377 warichu 409 type, creating about 361 single line of type 362 text in an area 363 tools for 361 tutorial 22 type on a path 363 type, editing anti-aliasing options 379 assigning a language 377 changing capitalization 375 converting to outlines 378 finding and replacing text 374 flipping text across paths 370 hyphenation 398, 399 inserting cursor in 373 resizing a text area 365 showing hidden characters 373 smart punctuation 376 spell-checking 374 switching between curly and straight quotes 373 transforming type 379

Unicode support 377 updating type from AI 10 and earlier 360 type, formatting

See also

character styles, paragraph styles, tabs aligning 396 all caps and small caps 388 applying graphic styles 439 area type options 366, 367 baseline shift 385

Character palette 381 color 381 composition methods 400 fonts 382, 383 fractional character widths 387 fractions and ordinals 394 graphic styles 381 greeking 384 hanging punctuation 397 indenting 397 justifying 396 kerning and tracking 386, 387 keyboard shortcuts for 531 leading 385 ligatures and contextual alternates 393 missing fonts 384 numbers 392

OpenType fonts 391

OpenType palette 391

Paragraph palette 395 paragraph spacing 397 reflecting 379 rotating 394 scaling 394 size 384 spacing between words 396 special characters 389 strikethrough 388 superscript and subscript 388, 389,

392 swashes 393 type on a path options 371, 372 underlining 388 wrapping type around objects 369 type, importing and exporting 344,

364, 451 type, selecting characters 380 considerations for 380 type objects 380 type paths 381 type, threading between objects 369 typographers’ quotes 373

Unavailable file status, in Version

Cue 97 underlining type 388

Underpainting command 430 undoing and redoing changes 29, 47

Unfiltered menu 55

Ungroup command 284

Unicode 364, 377 uninstallation, software 1 unit of measurement 42

Units & Display Performance preferences 39, 42, 507 unlocking objects 287

Unshare Project command 93

Unsharp Mask command 432 unwrapping text from around objects 370

Update Legacy Text commands 360 updates 9 updating linked files 327

URLs assigning to object 447

Use Adobe Dialog command 83 user forums 8 user IDs creating in Version Cue

Administration utility 134 deleting or duplicating in Version

Cue Administration utility 136 users assigning to Version Cue projects 128, 129 privilege levels, in Version Cue 136

value axis, for graphs 516 variables about 505 changing associated data 507

INDEX

559

creating 506 creating data sets 508 deleting 507 editing 506 importing and exporting 508 saving in SVG format 339

Variables palette 505 viewing XML IDs 507 vector graphics about 144 converting to bitmap 437 previewing rasterization of 442

Version Cue.

See

Adobe Version Cue versions deleting in Version Cue 114 deleting with Version Cue

Administration utility 132 in Version Cue 94 promoting, in Version Cue 114 saving, in Version Cue 111 using, in Version Cue 110 viewing all, in Bridge 113 viewing and comparing in Version

Cue 112 vertical (portrait) page orientation 474

Vertical Area Type tool 361, 363

Vertical Path Type tool 361

Vertical Type On A Path tool 363

Vertical Type tool 361, 362, 363 vertical type, converting to horizontal 394 video training 7

Video effects and filters 434 viewing artwork, keyboard shortcuts for 527 views about 40 creating 40 view area, moving 38

Visibility variables 505, 506, 507

warichu about 409

Warp effects 315

Warp tool 290 warping objects with envelopes 299 with Warp effect 315 with Warp tool 297

Water Paper command 433

Watercolor command 430 wavy lines, creating 315

WBMP files about 457 optimizing and saving 452 options for 463 web graphics

See also specific file formats

color management considerations 206 colors in 187 designing 442 dimensions of 454 estimating download time 453 file formats, compared 456 file size, specifying 453 generating CSS layers 454

GoLive integration 464 image maps 447 optimizing and saving 452, 455 output settings 464, 465, 466 previewing 455 previewing rasterization 442 resizing 454

Save For Web dialog box 452 slices 443 transparency in 456, 458

Web Safe RGB mode 182 web tables.

See

slices web-content folder about 87 web-data folder 87

WebDAV servers connecting to Cue projects 89 exporting Version Cue projects to 131 publishing Version Cue projects to 128, 129 web-safe colors about 442 alert triangle 192 in GIF and PNG-8 files 459 shifting to 187 website templates 34 windows creating multiple 40 windows, creating multiple 40

WMF file format 341, 484

See also

exporting artwork word breaks, preventing 399 word spacing 396 workflows cross-product 286

Workgroup Size preference 85 working files editing, in Version Cue 119 using, in Version Cue 94 working spaces, color 216 workspaces about 29 in Bridge 51 managing 45 saving 45 switching 45 wrapping text around objects 369

Wrinkle tool 290

and

axes, rotating 275

and

coordinates 44

XML about 448 importing and exporting variables 508

SVG effects and 448

XML ID preference 507

XMP (eXtensible Metadata Platform) about 64 uses 357

YakumonoHankaku mojikumi set 411

YakumonoZenkaku mojikumi set 411

zero origin (rulers) 41

Zig Zag effect 315 zoom level, displayed in status bar 29

Zoom tool 37, 38

INDEX

560

Key features

Create stunning vector graphics for print, web, and mobile.
Draw and edit precise paths and shapes with ease.
Apply beautiful gradients, patterns, and textures to your artwork.
Create complex illustrations using layers, masks, and blending modes.
Export your artwork in a variety of formats, including PDF, SVG, and EPS.

Frequently asked questions

Illustrator is a vector graphics editor, while Photoshop is a raster graphics editor. Vector graphics are made up of lines and curves, which can be scaled to any size without losing quality. Raster graphics are made up of pixels, which can become blurry or distorted when scaled up.

Yes, Illustrator is a great choice for creating logos. It allows you to create precise and scalable vector graphics that can be used in a variety of applications.

There are many resources available to help you learn Illustrator, including online tutorials, books, and classes. You can also find helpful tips and tricks in the Illustrator Help Center.