apiny 18sy) 52.40}2J3SN]|| 2gopy nyaping sasp $9.40} e1}SN|}| SqGopy eS©2008 Adobe Systeme Incorporated, Allyights reserved Adobe" Illustrator® CS Use Gide for Windows" and Macintosh his guide distributed with software that includes a end user agreement this guide, aswell as the software described in tis furnished ‘onder license ad may be used o copied only in accordance withthe tems of suh Gene, Except as permitted by any such license no part tf this guide may be reproduced store ina retrieval system or ansmite, in any form oF by any means. electronic, mechanical, recording, brotherwise, without the prior written permission af Adobe Systema Inconporsted Pease note tha the content i this guide s protected ‘andes copyright fay even i isnot distributed with software that inclades an end user Bcense agreement. The content of this gulde is furnished for informatcmal use uni is subject to change without notice, ad shold not be construed a8 3 «commitment by Adobe Systems Incorporated. Adobe Systems Incorporated asumes no responsiblity orlibility for any errors or inaccura sles that may appear in he informational content contain this guide Pleise remember that existing artwork or images that you may want io include in your project may be protected under capyright lave. The umuthorized incorporation of such material into your new work could be a violation ofthe rights of the copyright owner. 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The Software and Decumentation are*Commercil Items ath eran is defined a 48 CER. 2.101, «consisting of “Gonninercal Computer Sotware"and“Commercial Computer Softwire Dosimentation,’as such terms ate used in 8 CA $12,212 6 48 CER §227.7202, as applicable Consistent with 48 CER $12,212 048 CER, §§227.7202-| through 227.7202-4, as applica ble, the Commercial Coruputer Software and Commercial Computer Software Documentation ae being licensed o U.S. Goverment end ers (a) only as Connmercial tems (b) with only those eights asare granted toall her end users pursuant ta the terms and conditions herein Unpublished-rights reserved under the copyright laws ofthe United States. Adobe Stems lsorporated, 345 Park Avenue, Sa Jos, CA95110-2704, USA. For US. Government Bnd Users, Adobe agres fo comply with all applicable equal opportunity avs including, fp. ‘propriate the pravsions of Executive Order 11246, a5 amended, Section 402 ofthe Vietnaa Era Veterans Readjustment Assistance Act of 1974 (38 USC 4212}, and Section $03 ofthe Rehabilitation Act of 1973, as amended andthe regions at 41 CE Parts 60-1 through 60 60, 60-250, an 60-74, The airmative action clause and regulations contained in the preceding sentence shall be incorporated by reference. art Number: 99043929 (09/08)Contents Chapter 1 Learning about Adobe Illustrator Getting Help 4 Working with ilustrator What's New in Illustrator CS 3D effect Scribble effect : Templates and other professionally designed content Type enhancements Enhanced PDF support Tighter integration with Adobe Photoshop Expanded print capabilities ‘Adobe Version Cue Faster performance “ Tighter integration with Microsoft Office Support for eXtensible Metadata Platform (XMP) Plus more, Looking at the Work Area Using the Welcome screen, [About the work area Using tools and commands Using palettes i : sagas el aes oanioRtBS Bees Viewing artwork Using the status bar Undaing and redoing changes Customizing your lilustrator workspace Working with Adobe Version Cue managed projects Exiting illustrator a aM n 12 15 16 16 16 16 ay 17 17 19 19 20 23 24 25 30 31 31 ail 32 iiv) CONTENTS Chapter 2 Chapter 3 Chapter 4 Chapter 5 Creating Artwork in Illustrator ‘About creating artwork Creating and opening documents Setting up the artboard Laying out artwork with precision Importing artwork Managing linked and embeded artwork Automating tasks Basic Drawing ‘About drawing Drawing simple lines and shapes Drawing paths Drawing freeform paths with the Pencil tool Drawing precise paths with the Pen tool ‘Adjusting paths Tracing artwork Arranging and Combining Objects ‘About arranging and combining objects Selecting objects Positioning objects Organizing objects using layers Stacking objects Grouping objects Duplicating objects Hiding and deleting objects Combining objects into complex shapes Using clipping masks to change the shape of objects Reshaping Objects Choosing a reshaping method Using the Transform palette Repeating transformations Scaling objects strokes, and effects Shearing objects 33 33 238 38 45 46 51 53 54 2 63 65 70 79 81 81 89 99 105 107 108 an 12 113 25 15 16 116 121Chapter 6 Chapter7 Chapter 8 Distorting objects with the Free Transform tool Reshaping objects with the liquify tools Reshaping objects with envelopes Cutting objects Splitting objects into grids Blending objects Reshaping objects with effects and filters Creating 3D objects Applying Color, Fills, and Strokes ‘About color models, color modes, and color management, Changing the color mode of a document About spot and process color types Selecting colors ‘Working with swatches Changing global colors and tints Modifying colors Applying color fils and strokes to objects Converting strokes to filled objects Using Transparency, Gradients, and Patterns Working with transparency Working with gradients, meshes, and blends Working with patterns Enhancing the Appearance of Objects About enhancing the appearance of objects Expanding objects Working with appearance attributes Using filters and effects ‘Summary of filters and effects Using Stylze filters and effects Using graphic styles 123 124 125 128 128 129 129 130 139 139 140 140 143 2151 153 155 159 161 168 2174 175 176 7 183 196 187 191CONTENTS Chapter9 Chapter 10 Chapter LI Chapter 12 Advanced Drawing Using brushes tf Creating and editing brushes Drawing with symbols Using the symbolism tools, Drawing flares Creating Graphs ‘Working with Bitmap Images ‘About working with bitmap images Changing vector graphics into bitmap images Colorizing 1-bit bitmap objects Changing the appearance of bitmap images with filters and effects ‘Adding Type to Artwork Updating text created in previous versions of illustrator Creating type Importing and exporting text Working with blocks of type Adjusting the position of type on a path Editing text mere! Modifying letterforms as graphic objects Transforming type Rasterizing and anti-aliasing type Formatting Type Selecting type seesereseeesres Changing the color and appearance of type Formatting characters Applying OpenType features to characters Formatting paragraphs Copying type attributes Controlling hyphenation and justification Working with composition 197 201 208 212 218 220 nee neat 2228 223 +225 226 229 230 236 239 245 206 246 247 249 249) 259 1262 266 267 267‘Working with tabs Foceaeee 268 Using character and paragraph ses Reta erl ‘Working with Chinese, Japanese, and Korean type 227 Chapter 13 Creating Web Graphics Designing graphicsfor the Web 2278 Working in pixel preview mode 1.274 Dividing artworkinto slices. 42... zs Creating image maps Bee recreate Creating Web graphics with SVG pare 2 Creating Web graphics with SWF... 282 Optimizing images 3 283 Optimizing clersin GF and PNG-8images 287 Saving optimized images Peer Chapter 14 Saving and Exporting Artwork ‘About saving artwork Saving artwork in Illustrator format Saving artwork in Adobe PDF Saving artwork in EPS format Saving artwork in a SVG format Saving artwork for Microsoft Office Exporting artwork Getting information about documents Chapter 15, Printing Artwork About printing .......++ z ses B97 Using the Print dialog box. sects 298 Setting general options .....0:..+ 298 Setting setup options oie 302 Setting marks and bleed options 303 Setting output (separation) options 304 Setting graphics options 309| CONTENTS | Appendix Setting color management printing options po ear nen nana) and flattening) gptions Viewing a summary of the print settings Using print presets Setting the crop area Setting crop marks Printing gradients, mesh objects, and color blends Splitting paths to print large, complex shapes Selecting PostScript Printer Description files Annotating objects Keyboard Shortcuts Keys for selecting tools. Keys for viewing artwork Keys for selecting and moving objects Keys for editing paths Keys for painting objects Keys for transforming objects 5 Keys for navigating through and selecting text Keys for formatting type Keys for using palettes Keys for using the Actions palette Keys for using the Brushes palette Keys for using the Character and Paragraph palettes Keys for using the Color palette Keys for using the Gradient palette Keys for using the Layers palette keys for using the Swatches palette Keys for using the Transform palette Keys for using the Transparency palette Function keys Index an 312 321 321 323 34 324 325 325 326Learning about Adobe Illustrator * 4 Welcome to Adobe’ Illustrator*CS, ¥ the industry-standard illustration ae 7B program for print, multimedia, and online graphics, Whether you're a novice or an illustration expert, Adobe Illustrator offers you the tools you need to get professional-quality results, You'll find that Adobe Mlustrator excels as an art production tool, whether you are a designer or technical illustrator producing artwork for print publishing, an artist producing multimedia graphics, or a creator of Web pages or online content, Illustrator gives you an unmatched level of precision and control over yourartwork and the flexibility to produce anything from small designs to large, complex projects. It also provides a consistent work environment with other Adobe applications including Adobe Photoshop’, Adobe GoLive’, Adobe InDesign’, Adobe LiveMotion”, Adobe After Effects’, and Adobe Premiere’. Getting Help Adobe provides a variety of options for you to learn Illustrator, including printed guides, online Help, and tool tips. You can easily access a host of continually updated Web resources for learning. Illustrator, from tips and tutorials to tech support information. Getting up to speed depends on your experience with previous versions of Ulustrator. Finding Help for illustrator features Tey this. Installing ilustrator + Follow the on-screen installation instructions For more detailed information, 80 the How To Install fle on the CD. ‘Ave new to llustator and want an overview foftocls and features * Browse through the information in “Working with llustratoron page 4 for information on specific tasks, +See the Looking at the Work Area’ chapter to get familiar with the work area and tools + Choose Help > Tutorials for hands-on lessons. + Use the llustrator tooltips feature to help identify tools buttons and palette controls as you workin Ilustrator. (See “Using tool tps" on page 22) ‘re upgrading from a previous version oflustrator See the" What's New" chapter for information on new functionality illustrator C5. + Browse through the information in “Working with llustrator"on page 4 for information on specific tasks.2 | Learning about Adobe ilustrator Finding Help for ilustrator features you. Ty this ‘Arelooking foradetailed information abouta Feature + Search forthe feature in illustrator Help or looking it up inthe nde. Wane to learn about free content included with lustrator * Choose Help > Welcome Screen, and click Coo) Extras to view a catalog often plates brushes, styles symbols, swatches, fonts, and sample files Wanta POF version of the lustrator User | Guide and Help system +See the AlCSHep fle on the CD, ‘Want information on keyboard shortcuts +See the Keyboard shortcuts appendix. Finding tstrator Ifyou. Try this. ‘Want to learn new techniques for Using lustrator Complete one ofthe tutorials avalable onthe Adobe lustrator Web sit, + Choose Help > lustrator Online to open the main Adobe tlustrator Web page. | choose Help > Online Support to go directly tothe Adobe llustrator support page. + Open Adobe's home page at wwvvaddbe.comThen select Products and click the llustrator link ‘Note: You must havea Internet connection and an internet browser inorder to | ‘access the Adobe Web steusing these commands. Resources an the Adobe Web sit ae continually updated and include the fok lowing step- by step tutorials updates patches, and plug insillustrator Top [seus containing the latest ustrazor technieal support solutions technical ‘uides:a searchable database of answers to technical questions;and links to ser forums, ‘Area developer looking for technical Goto https//partnersadobe.com/asn/techresources|sp. The Adiobe Solutions Network ASN) provides resources for developers print ‘ervie providers and others interested in making the most of Adobe products and technologies. Here, you can find access to such information as SDKs, the developer knowledgebase, and technical guides forareas such as PDF Post- Script and printing technologies, fonts, XMP,and SVG.ADOBE ILLUSTRATORCS |3 User Guide Finding llustrator training resources Ifyou. Try this. {Are ooking fora book or self-guided wining option Visit the Adobe Press ste at war adobe.com/mise/books him) or contact your local bookseller Adobe Press books provide in-depth training in Adobe soft ware including theacclaimed lassroomina Book’ series developed by experts atAdobe. ‘Want information about becoming an Adobe Corti Expert, Adobe Certified nstructoror ‘Adabe Authorized Learning Provider Visit the Partnering with Adobe Web site at htp//partnersadobe.com. Certification isavalable worldwide. Finding support for Illustrator you. ‘Try this. ‘Want answers to common troubleshooting questions ‘Choose Help > Online Support and follow the links to the Support Knowledge: base, You can browse top issues for lustrator and search a database with answers to technical questions ‘Want customer or technical support *efert0 the technical support card provided with your sofware, + Wen you register your product, ou may be entitled to technical support for upto 90 days from the date of your fst call Terms may vary depending on the country of residence. To register online,choose Help > Registration. You can alsa register by filing out and returning the warranty registration card included with your sofware package. +See the ReadMe installed with the program for addtional information +See the Adobe Illustrator support page for information on top support issues and troubleshooting information for common problems. Ths support page includes access toan extensive Support Knowledgebase, which you can search for answers to specifi Ilustator questions and problems.To access the Adobe Imustratorsuppart page, choose Help > Online Support‘Learning about Adobe tilustrator th Illustrator Working You can work with Illustrator in different ways. Whether you're creating graphics for the Web or high-resolution images for print, Illustrator delivers easy-to-use tools and editable effects to let you experiment at will—or revise as needed—and still meet your deadlines. Hf you want to jump-start a project Dlustrator provides a variety of professionally designed resources to help get your creative juices flowing: + Use templates to start typical design projects. Illustrator comes with templates for business documents (letterhead, business cards, envelopes, and so on), CD and DVD booklets, brochures, certificates, greeting cards, Web sites, and more. In addition, you can create new templates to meet your design and production needs, (See "Creating new documents” on page 33 and “Creating new templates” on page 34.) + Use libraries of symbols, brushes, styles, and swatches to speed up the design process. catalog of the libraries, choose Help > Welcome Screen, and click Cool Extras. ora Hf you want to draw an illustration Prom the industry-standard Pen tool to versatile brushes and symbols, Illustrator supplies tools that support your illustration style: * Use the Pen tool to draw precise paths — smooth, lowing curves or straight lines—or use the dynamic pencil to draw on-screen as easily as you do on paper. (See “Drawing precise paths with the Pen tool” on page 65 and “Drawing freeform paths with the Pencil too!” on page 63.) Use the specialized shape tools to draw rectangles, circles, arcs, grids spirals, stars, and more, (See “Drawing simple lines and shapes” on page 54.) Use brushes to create hand-drawn effects, such as calligraphic strokes, and paint patterns that flow along a path. Customize the brushes or edit the strokes at any time to fine-tune the image. (See “Using brushes” on page 197.) Ifyou start an illustration by sketching it on paper, simply scan your drawing and place it into Illustrator asa template layer. Then use the Auto ‘Trace tool to automatically trace the mage. (See “Tracing artwork” on page 79.) Use symbols to add individual design elements to an illustration or create natural-looking, masses of repeating elements such as foliage or crowds. (See “Drawing with symbols” on page 208 and “Using the symbolism tools” on page 212.) Create complex shapes quickly by combining simple shapes into compounds. Then edit the compounds if you need to without redrawing the original shapes, (See “Combining objects into complex shapes” on page 112.) Reshape objects with the Illustrator transfor- mation tools. You can apply the changes interac- tively, or enter specific settings to control the results precisely. (See “Choosing a reshaping method” on page 115.)Ifyou want to apply sophisticated color effects Ilustrator offers advanced fill and stroke options such as patterns, gradients, and the ability to add multiple fills and strokes to a single object. In addition, youcan apply transparency and masks to produce painterly, see-through effects: + Use the Transparency palette to apply trans- parency to vector objects, bitmap images, or type. You have the option of limiting trans- parency to a layer, a group, or an object’ fill or stroke, and transparent objects and type remain fully editable. (See “Working with trans- parency” on page 161.) + Apply blending modes to blend the colors of graphics and type with the colorson underlying layers. By experimenting with different mode settings in the Transparency palette, you can create a wide range of effects. (See “Using blending modes” on page 163.) + Use clipping masks to cut an object away from its background, or ereate opacity masks t let elements on an underlying layer show through an object. (See “Using clipping masks to change the shape of objects” on page 113 and “Creating and editing opacity masks” on page 165.) + Paint objects by filing them with solid colors or patterns, Or use gradients to produce painterly {illsthat flow between multiple colors, similarto watercolors. (See “Applying color fils and strokes to objects” on page 155, “Using the Gradient palette” on page 168, and “Working with patterns” on page 174.) Ifyou want to add [ADOBE ILLUSTRATOR CS |5 User Guide| Select Add New Fill or Add New Stroke from the ‘Appearance palette to apply multiple strokes: and fills toa single object, (See “Creating multiple fils and strokes in an object” on page 158.) ial impact to your artwork With Illustrator’s dynamic tools and effects, you'll be able to make your ideas come to life: Import files from other applications to add diverse elements to your artwork. (See “Importing artwork” on page 45 and “Managing linked and embedded artwork” on page 46.) Use graphic styles to quickly add flair to text and artwork. Illustrator comes with over 150 preset styles, plus you can save new styles with as click, (See “Using graphic styles” on page 191.) Use effects to experiment with a limitless variety ‘of appearances while keeping the ability to edit the underlying objects. Effects can be modified ‘or removed instantly, o you'll aeays be in control of the final artwork, (See “Using filters and effects” on page 183 and “Summary of filters and effects” on page 186.) ‘When applying styles and effects, use the Layers palette to target any object, group, or layer you. want to change. Then use the Appearance palette to keep track of and modify the results (See "Targeting layers, groups, and containers” on page 178.)Learning about Adobe illustrator * Bend, stretch, and twist your graphics in any ‘way imaginable with live enveloping, warping, and liquify tools. The distorted objects remain editable, no matter how much they have been ‘manipulated. (See “Reshaping objects with envelopes” on page 125, “Reshaping objects with effets and filters’ on page 129, and “Reshaping objects with the liquify tools” on page 124.) Ifyou want to create professional-quality type Illustrator provides powerful, flexible features for creating and modifying type. With the new typographic controls in this version of Illustrator, you be able to set type likea pro: ‘+ Add type anywhere in your artwork—horizon- tally, vertically, along paths, inside shapes, around shapes, in rows and in columns. If you can imagine it, Ilustrator can do it. (See “Creating type” on page 226.) + Use the Open'lype and Glyphs palettes to gain access to special characters in Open'lype font, including ligatures, fractions, swash characters, titling characters, ordinals, and ornaments. lustrator comes with a variety of OpenType" fonts so you can use these features in your work right away, (See “Applying Open'Iype features to characters” on page 259.) Use the Character and Paragraph palettes to keep typographic controls at your fingertips. ‘These palettes provide a host of formatting options—ftom font, size, leading, kerning, and tracking to alignment, justification, and inden- tation, (See “Formatting characters” on page 249 and “Formatting paragraphs” on page 262.) ‘Once your type is formatted exactly-as desired, save the settings in a character or paragraph style, Styles help you format type quickly and maintain high standards by ensuring that all of the text in a design is consistent. (See “Using character and paragraph styles” on page 271.) Use the Adobe Every-line Composer to automatically typeset blocks of text. The Every- line Composer produces elegant line breaks with minimal hyphenation, consistent word and letter spacing, and no distracting rivers of white space flowing from line to line, (See “Working with composition” on page 267.) Use editing features— including spell-checking, find and replace, and smart punctuation—to fine-tune your text, Ilustrator comes with dictionaries for twenty-nine different languages so you can use these features regardless of which language the text is in. (See “Baiting text” on page 239.) If your artwork includes Japanese text, turn on the Show Asian Options preference. Illustrator includes features for tsume, tate-chu-yoko, warichuu, mojikumi, kinsoku shori and composite fonts. (See “Working with Chinese, Japanese, and Korean type” on page 271.)If you want to create graphics for the Web Illustrator provides Web-savvy tools to help you minimize file size without sacrificing the quality of your artwork—and unlike their raster-based counterparts, the vector elements you create in Illustrator remain completely editable, + To manage repeating graphics efficiently, create asymbol and then use as many instances of it as you need File size stays small because the symbol is defined only once,and the instances reference the symbol. In addition, the instances update automatically when you edit the symbol. (See “Drawing with symbols” on page 208.) *+ Create vector- or raster based slices from objects, groups, or layers, The slices update automatically when elements are repositioned or edited, and you ean export individual slices in Macromedia Flash (SWF), SVG, GIF JPEG, PNG, or HTML format, all within the same HTML table, (See “Dividing artwork into slices” on page 275.) + Use the Release to Layers command to shuffle objects from one layer onto individual layers. ‘Then export the layers in Photoshop format or asa Macromedia Flash (SWP) file for animation in another Adobe application. (See “Releasing items to separate layers” on page 103.) + Use the Image Map pop-up menu in the Attributes palette to define an image map. Enter a URL, and Illustrator automatically generates linked image map when you export the file in ‘Web format. (See “Creating image maps” on page 281.) ADOBE ILLUSTRATOR CS |7 User Guide + Apply drop shadows and other effects as editable SVG effects, These low-memory vector effects are rasterized only when viewed in an SVG viewer, so they look crisp at any size. (See “Creating Web graphics with SVG" on page 282.) + Apply type anti-aliasing selectively to keep small text easy to read, (See "Rasterizing and anti- aliasing type” on page 246.) + Choose View > Pixel Preview to see how your vector objects will appear when they are rasterized for the Web. (See “Working in pixel preview mode” on page 274.) + Set the Color palette to display only Web-safe colors,or use the Only Web Colors option in the Color Picker. In additiow, you can convert an existing print file to RGB by choosing File > Document Color Mode > RGB. (See “Using the lor palette” on page 141 and “Using the Color Picker” on page 140.) + The Save for Web dialog box displays side-by- side previews of your artwork to let you compare different compression options and select settings that keep the image quality high and the file size low. (See “Optimizing images” ‘on page 283.) If you want to speed up everyday tasks Saving a few seconds here and there can shave hours off a complex project, and Illustrator is packed with features to handle common tasks quickly and efficiently.Learning about Adobe illustrator + Specify a tolerance range for the Magic Wand tool to select a range of objects with similar attributes—every object with a stroke weight between | and 3 points, for example, Save and load selections easily using the Select menu (See “Using the Magic Wand tool and palette” on page 86.1 + Use graphie styles and effects to change the appearance of vector objects instantly. Because the original objects remain intact, you can ‘modily the results at any time. (See “Using graphic styles” on page 191 and “Using filters, and effects” on page 183.) + Manage complex artwork efficiently by using, the Layers palette to organize the file into distinct layers and sublayers. You can also use the Layers palette to apply appearance attributes to layers, groups, and objects, (See "Organizing objects using layers” on page 99.) * Position objects quickly using the precision layout tools in [lustrator, inchiding snap-to grids, Smart Guides, and the Align palette. (See “Laying out artwork with precision” on page 38 and “Aligning and distributing objects” on page 93.) + Sample text and color attributes with the Eyedropper tool and apply the attributes to other objects. (See “Copying attributes between objects” on page 182.) + Use the Swatches palette to store color and pattern swatches in a custom swatch set. When ‘you copy an object from one file to another, any swatches associated with the object are added to the Swatches palette in the destination document. (See “Working with swatches” on page 143.) If you want to use Illustrator with other applications When you use Tustrator with other Adobe software, you can take advantage of superior Adobe technologies such as cross-produet color: management tools ile information, Smart Object. technology, transparency tools, and a unified interface that makes it easy to put your expertise in one application to work in another: + Preserve layers, masks, transparen compound shapes, and editable type when, passing files between Illustrator and Adobe Photoshop. Retain rollover and animation information in linked Photoshop files when exporting from Illustrator as CSS layers. (See: “Exporting artwork” on page 293 and “Exporting layers as CSS layers” on page 286.) + Edit native flustrator files directly in Adobe InDesign. Adjust transparency settings in InDesign, and preserve live effects, such as drop shadows,+ Drop Illustrator files inside Adobe GoLive and then double-click the files to launch Illustrator and make edits. The changes appear automati- cally in the GoLive file. Fine-tune the optimi- zation settings directly in GoLive, and import data-driven graphics templates into GoLive for automated network publishing. + Export EPS and Macromedia Flash (SWF) files for use in LiveMotion, Export Illustrator blends as SWE sequences that can be animated in LiveMotion. Double-click a placed Mlustrator file to launch Illustrator; any edits update automatically in the LiveMotion file. (See with SWF” on “Creating Web graph page 282.) + Save your Illustrator files in Adobe PDP format to create documents anyone can view using the industry-standard Adobe Reader’. (See “Saving artwork in Adobe PDE” on page 290.) + Import layered Illustrator artwork into Adobe Afier Effects, and integrate easy-to-edit Il trator graphics into your Adobe Premiere ¥ productions, + Create templates in Illustrator and define variable elements, Then use Adobe AlterCast™ image server software (available only in English) to replace the variable text and graphics automatically and generate an unlimited number of unique iterations of the design. (See “Working with data-driven graphics” on page 508.) ADOBE ILLUSTRATOR CS |9 User Guide + Use the Save for Microsoft Office command to create a file you can use in a PowerPoint presen- tation, a Word document, or an Excel spread- sheet. (See "Saving artwork for Microsoft Office” on page 293.) If you want to automate time-consuming processes Tight deadlines require efficient workflor especially for designers and developers working in high-volume publishing environments. Illustrator lets you automate some of the most repetitive tasks, such as batch processing and creating varia- tions of similar designs. + Build a basie template in Mlustrator and define objects in the design as variables. Then use an automated script or an image server to produce unique variations, using data stored in any ODBC-compliant source. (See “Working with data-driven graphics” on page 508.) + Automate repetitive tasks using the rich scripting support, whieh allows access to almost every function in Mlustrator. Write scripts using JavaScript, AppleScript, or Microsoft Visual Basic. (See “Using seripts” on page 507.) + Use the Illustrator Actions palette to group @ series of commands into a single action. Then play back the action to repeat the entire set of steps automatically. You can even use the Batch command to apply an action to a folder of files and subfolders. (See “Using actions” on page 497.)sath acne AL, et Rea sb ssor st tabycerpee Beh tems BNA Mead ata pibtobepteisieentigeisobhectiini alii cams shecerdaaed arsntiestridai hails wrxitgs + ___ Datattoeer aM tiptdaiiee)se yotieigfhe Sa sade! Pail dent cele SB ayaa Y jons west niga tsi cthaiithedeedt Sect 1 ybe-iahctoine nity. (See ieiatagithe: Mige Mand i wel itcid test deetiieitiehe detail, sige Hata “gelding Stelter besarte ott (5002) oA 1b sande valent a eee 302) leas odo aoe i Ts" What’s New in Illustrator CS 4X Innovation is central to the Tlustrator ¥y legacy, and as the role of graphic designers ae 7B has expanded from print to the Web and other media, Illustrator has delivered a rich feature set and reliable production tools that make deli ring work to multiple mediums easy. Hustrator CS builds on this tradition by pairing features that open the door to graphic inve With forward-looking enhancements to core design tools. 3D effect Rendering objects in perspective is atime- honored way to give printed materials the illusion of depth. Now Illustrator CS makes it easy to add 3D elements to your work, whether you're producing a logo, a package design, or a ttle for a Video production. Using the integrated new 3D effect, you can transform type and other shapes you draw into 3D objects, and then rotate them in space and even customize their lighting. 3D shapes are “live,” so changes you make to the original 2D ‘object are automatically reflected in the 3D shape. For more information on the 3D effect, see “Creating 3D objects” on page 130. Scribble effect Have fun making vector artwork look loose and hand-drawn with the new live Scribble effect. Great for adding. child-like charm toartwork, the Scribble effect is also handy for quickly making formal design elements look casual and friendly masking images, creating scratchboard-like illus trations, adding cross-hatching to a design, or creating animated wiggly lines For more information on the Scribble effect, see Making objects look hand-sketched” on page 189. Templates and other professionally-designed content ilustrator CS includes more than 200 real-world, professionally-designed templates—including 50, Japanese language lemplates—that help you start typical projects quickly. Templates of design ideas and include custom-sized providea range arthoards, layers, styles, swatches, symbols, and more, Illustrator CS also includes a template file format, so you can save your own templates. For ‘more information on using templates, see “Creating new documents” on page 33 and “Creating new templates” on pa In addition to templates, Illustrator CS comes with more than 100 free OpenType fonts (including and Korean fonts) and Roman, Japanese, Chine professional swatch and symbols libraries. To view catalog of the content that comes with Illustrator CS, choose Help > Welcome Screen and click. Cool Extras.2 ‘What's New in illustrator CS Type enhancements Illustrator CS introduces a redesigned text engine and forward-looking features that make it easier than ever to set great-looking type. Paragraph and character styles Paragraph and character styles help you maintain high production standards by ensuring that all of the text in a design uses consistent formatting, whether for entire paragraphs or shorter segments, such as ruin-in heads or words that require particular emphasis. Styles also save you time because they enable you to apply a rich set of formatting attributes witha single click of a mouse. For more information on character and paragraph styles, see “Using character and paragraph styles” on pag Opentypefont support The OpenType font standard was developed jointly by Adobe and Microsoft, and brings the advantages of both the TrueType and PostScript font formats into a new format that takes advantage of Unicode character encoding. OpenType fonts use a single font file for both Macintosh and Windows computers, so you can move files from one platform to another without ‘worrying about font substitution and other problems that cause text to reflow. A single ‘OpenType font file can also include many more slyphs (a glyph isa visual representation of a character) than other font formats, including glyphs previously only available in expert sets and characters for non-western Greek and Cyrillic inguages such as Inaddition to these general benefits, Mlustrator CS includes special Open'Type commands for automatic context-sensitive substitution of alternate glyphs. When you select any of these options, Illustrator automatically replaces the default glyph for a particular character or combi- nation of characters with any contextually appro- priate alternative. For example, if you have the Fractions option selected and type 3/16 in an OpenType font that supports arbitrary fractions, the numbers will be automatically reformatted as a fractions if you select the Swash option and the selected OpertType font includes alternate Swash glyphs, they will be used. For more information on Open'Type font support, see “Applying OpenType featuresto characters” on page 259. Easy access to alternate glyphs. The new Glyphs palette in Illustrator CS offersa fast, accessible way to see all of the glyphs ina font, such as Ornaments, Terminal Forms, Discretior Ligatures, and more. Simply double inserts the selected glyph. Previously, you could access these special characters only by memorizing keyboard shortcuts or manually formatting, individual characters using a separate “expert” version ofa font that included the character you wanted. licking, For more information on using the Glyphspalette, sce “Inserting glyphs” on page 240.Columns,rows, and other area type enhance- ments Quickly produce multi-column designs by defining columns and rows in any text area Specify the number of columns and rows, the width and height of those rows and columns, whether or not they're a fixed size, and the size of the gutter. You can also determine the size of the inset between the text and the object containing it. how the baseline is set, and whether text flows between linked objects from right to left or left to right For more information on setting up rows and columns, see “Working with blocks of type” on page 230. Optical kerning and optical margin alignment With many fonts, the default spacing between characters is visually uneven or crowded, even ‘when the kerning pairs built into the fontare used, Designers have longused manual kerning toadjust the space between awkward-looking pairs of letters, but the process is time-consuming. To help balance your desire for quality against your drive to meet schedules, Illustrator CS introduces two features that automate kerning: + Optical kerning automatically kerns text to produce optimal spacing. When applied to a word, line, or paragraph, IMustrator analyzes the visual characteristis of text and automatically determines the ideal spacing for the characters—even when that text mixes different fonts and font sizes, Kerning is cumulative, so you can always adjust optically kerned text to suit your eye. For more information on using optical kerning, see “Adjusting kerning and tracking” on page 254 ADOBE ILLUSTRATOR CS 13. User Guide *+ Optical margin alignment automatically adjusts the position of punctuation and text ateither end ofa line to make the edges of atext haracters, block look more visually even. You use optical alignment most often to hang punctuation, such as quotation marksand hyphens, but other characters are subtly shifted as wel in order to produce typographically good-looking results For more information on using opti alignment, see “Specifying hanging punctu ation” on page 265. margin Every-line Composer for optimized paragraph composition The new Every-line Composer in Lllustrator CS gives you the ability to produce exquisitely typeset text without fine-tuning line breaks by hand. The main goal in setting longer ‘runs of text—in brochures, packaging, and other materials you create with Illustrator—is to produce the most elegant line breaks you can with minimal hyphenation, consistent word and letter spacing, and no distracting,“rivers” of white space flowing from line to line. The Every-line ‘Composer, 2 unique Adobe composition engine used in Adobe InDesign and Adobe Photoshop, examinesall of the text in an area to determine the best combination of line breaks across the entire run, Ilustrator CS also ineludes the Single-line Composer, which applies hyphenation and justifi- cation settings to one line of text at a time, just as Illustrator did in the past. For mare information on the Every-line Composerand the “Working with composition” on page 267. ingle-line Composer, see14 Whats New in illustrator CS Custom tableaders With fllustrator CS, you can customize the dot type and pattern for tab leaders, you can design your own graphics to use as tab leaders, In addition, Mustrator now lets you set unlimited numbers of tabs. For more information on setting up tab leaders, see “Working with bs” on page 268. WYSIWYG font menu ‘The Font menu in Adobe Illustrator CS displays each font face you have installed, so you can choose the fonts you want to use visually. Experimenting with different faces is now faster and more direct, and you can see at a glance what format a font uses (for example, the ‘green and black O indicates an Open'lype font). If you prefer, you can also disable this option, For more information on previewing fonts, see “Previewing fonts” on page 251. Expanded support for Japanese typography ‘Adobe Illustrator is the standard for design in ‘most countries, and support for file sharing between different language versions has long made it possible to share designs globally. Illustrator CS expands this support with more sophisticated controls for formatting Japanese text. This includes customizable mojikumi rule sets for determining optimal character spacing, as well as editable kinsoku shori rule sets for handling Japanese punctuation, characters that cannot begin or end lines, and characters that can't be separated, Illustrator also includes other enlrance- ments, stich as automated tate- a composite font editer;an IME editor for entering Japanese te ig Japanese text options in Roman versions t,and a preference for hiding or of Illustrator. For more information on Japanese type features, see “Working with Chinese, Japanese, and Korean type" on page 271 New options for type on paths Illustrator CS expands your options for designing text on a path. ‘The new Type on a Path submenu on the Type menu provides five preset alignment options, and the Type on a Path Options dialog box includes, additional options for controlling the position of the text relative to the path. Now you can create a wider range of looks for projects that use path text with a minimum of effort. For more information on setting options for type ‘on paths, sce “Adjusting the position of type on a path” on page 236, (On-screen highlighting of missing fonts Illus- trator CS automatically highlights fonts that are used in a document but are not available on a computer system, so you can identify and fix problems easily. Then use the Find Font command (available in previous versions of Hlustrator) to replace the missing fonts with installed ones or identify the missing fonts so you can install them. For more information on missing fonts, see “Handling missing fonts” on page 258, Enhanced hyphenation and justification controls. Illustrator CS provides significantly enhanced hyphenation and justification controls, Control how long a word must be before Illustrator hyphenates it, whether Illustrator hyphenates capitalized words, and whether it favors betterword and character spacing or fewer hyphens. New Justification controls allow you to set minimum, maximum, and desired settings for word spacing, letter spacing, glyph scaling, and For more information on setting up hyphenation and justification, see “Controlling hyphenation. and justification” on page 267. Expanded language support Spell-check and hyphenate the text in your Illustrator documents, in 29 languages, from U.S, and UK. English, French, and German to Icelandic, Polish, Serbian, and Turkish, For more information on language support, see “assigning a Tanguage” on page 258, Improved text linking and deletion ‘Textlinkingis now more flexible: any text area, including path text, can be linked to any other text area, so it's possible to flow text from one area, onto a path, and then into a second area. Plus, you can now delete linked text block without also deleting any text it contains—the text now flows back into the previous box. fllustrator also now reduces clutter in your documents by automatically deleting empty text blocks that are created by clicking a type tool and not entering text, For more information on text linking and deletion, see “Threading text between objects” on page 233 and “Unthreading text from objects” on page 234. ADOBE ILLUSTRATOR CS |1: User Guide Warning about text reflow Cpen documents created in older versions of Mlustrator with confi- dence: you can choose to have the text in legacy documents remain just asit was designed until you lick an insertion point to edit it, or you can choose to update all type objects when you open the file with Iustrator CS. For more information on your options for reflowing text, see “Updating text created in previous versions of Illustrator” on page 225. Enhanced PDF support Adobe Illustrator has used Adobe PDF (Portable Document Format) as its native file format for several versions, making it easy for you, your clients, and others to open and view your artwork files in Adobe Acrobat or the free Adobe Reader. Now Illustrator CS introduces new support for Adobe PDE, including compatibility with Acrobat 6.0 and the Adobe PDF 1.5 format, extensive security options, and support for layers, printers marks, and bleeds in PDF files. In addition, you can apply transparency flattener styles as you save PDE files and save PDF settings as presets to streamline PDE creation. For more information on PDF options, see “Saving artwork in Adobe PDF” on page 290.16 ‘What's New in llustrator CS. Tighter integration with Adobe Photoshop Move layered files between Photoshop and Illus trator more easly. Text editability has been improved because the two programs now share the same underlying text composition technology. Plus, multiple spot channels can be imported and 16-bit color data can be converted to 8-bit on import, so you no longer have to keep two versions of your original file. Aso, you can link Photoshop duotone and tritone PDF images and print them accurately from Illustrator, For niore information on moving artwork between Illustrator and Photoshop, see “Importing artwork from Photoshop,” “About importing layers from Photoshop files” and “Photoshop format (PSD)” in Illustrator Help. Expanded print capabilities One of the top priorities for Illustrator CS was to refine the printing experience and make Illustrator print jobs more efficient and reliable to output, ‘whether to a desktop printer ora high-end print production device. To achieve this, Mustrator CS introduces a streamlined user interface and next {generation support for fast and reliable printing, so you can easily produce consistent results every time you print. Ilustrator CS eliminates the Page Setup and Separations Setup dialog boxes, and consolidates their functionality in the comprehensive new Print dialogbox. You can now specify all print settingsin the Print dialog box, from tiling and custom page sizes to printer's marks, color management output profiles, and transparency flattener settings. This new, more unified interface makes it easier to specify printing options quickly and accurately to achieve the results you want. Other new printing features include an interactive print previews convenient scaling options, intuitive tiling controls, time-saving print presets, improved consistency with transparency flattener presets, ‘more flexible printer's marks, independent bleed settings, new separation options, and finer control when printing layers. For more information on print capabilites, see “Using the Print dialog box” on page 298. Adobe Version Cue Use Adobe Version Cue™ features in Mlustrator CS to increase your productivity when you work alone or collaborate with others, You can integrate Version Cue design management into your existing workflows within and across the Adobe* Creative Suite applications. The Version Cue features in Ullustrator CS are only compatible with. the Adabe Version Cue Workspace, which is a feature that is only available as part of the Adobe Creative Suite. (See “Working with Adobe Version. ‘Cue managed projects” on page 31) Faster performance Ilustrator CS is faster across the board, so you can ‘work more quickly. From copying and pasting to scrolling around the artboard, printing, and saving files, you can pursue your ideas in a more interactive environment.Tighter integration with Microsoft Office When you need to move artwork from Illustrator into a PowerPoint presentation, a Word document, or an Excel spreadsheet, the news For Microsoft Office command saves your graphics in a format that gives you great-looking, ve results every time. Whether you're working on a Windows or Mac OS system, this new option saves you time by ensuring your artwork displays and prints beautifully when viewed in Microsoft Office documents, For more information on saving for Microsoft Office, se “Saving artwork for Microsoft Office” on page 298. Support for eXtensible Metadata Platform (XMP) Metadata is increasingly important in all types of publishing: when metadata is embedded in a file, publishing that file across print, the Web, eBooks and more can be automated more easly. Developed by Adobe, the eXtensible Metadata Platform (XMP) is an open XML framework that standardizes the creation, processing, and inter change of metadata across publishing workflows. By adding metadata in XMP, for example, Keywords you add to your files ean be indexed by Internet search engines, making your images more casily accessible online. Because the XMP standard is also supported by Photoshop CS, Acrobat 6.0 Professional, and InDesign CS, the metadata information you enter in your Hlustrator files can ‘be maintained wherever yon take the file. ADOBEILLUSTRATOR CS |17 User Guide For more information on XMP, see “Adding metadata to documents” on page 294 or go to hip:/Avwwadobe.com/products/xmp/ main.html, Plus more... Input from customers has helped Adobe make ‘many improvements to the features you rely on. Other enhancements are designed to make tlus- trator more intuitive, so new users can get up to speed more quickly, Here's an overview of some of the user interface enhancements in this release: + Learn about Illustrator and how to make the most of key features: Watch a 90-minute Total Training video by expert author and trainer Deke McClelland included on a CD in the box. + Learn about new features in Ilustrator CS and access Tutorials and other free content by choosing options from the Welcome to Adobe Illustrator CS screen that appears when you first launch the program. + Take advantage of richer support for the SVG file format: Illustrator now supports the use of SVG primitives, expanding your options for ‘manipulating objects in the SVG files you import and export. + Print and export inked EPS und PDF files that interact with transparency—including duotones—without embedding them. + Open and save Style, Swatch, Brush, and Symbol libraries right from their respective palettes by choosing the Open Library and Save Library commands from the palette menus.18 What's New in Illustrator CS + Us scale objects proportionally. lock button on the Transform palette to cify a sample size in pixels for the Eyedropper tool. + Choose a custom scale size for DXF and DWG files on import. + Optimize and export WBMP graphics for use on wireless devices. + Automate more tasks with Scripting enhance- ments, including the ability to automate all new features—such as the new Printing interface— with expanded scripting support.I" Chapter 1: Looking at the Work Area BB A Welcome to Adobe illustrator. Illustrator ives you an efficient work area and user both print and the Web. Using the Welcome screen The Welcome screen automatically appears when you open Illustrator. You can use this window to create a new document, open an existing document, and get information about how to use Illustrator. Touse the Welcome screen: 1. Choose Help > Welcome Screen to display the window ifit’s not already open. 2 Select one of the following options: + What's New in Illustrator to launch your Web browser and take you to a Web page describing new features in Illustrator. + ‘Tutorials to launch your Web browser and take you toa Web page containing illustrated lessons that will help you learn how to use Illustrator. + Cool Exirasto see a PDF catalog listing all of the samples that are provided with Mlustrator, including clip art, bitmap images, premade templates, premade symbols, graphic styles, swatches, brushes, and actions. + New Document to create a new document. For information on setting options for new documents, see “ page 33. eating new document + New from ‘Template to create a new document from a template. For more information on choosing templates, see “Creating new documents” on page 33. + Open Document to open an existing file as an Illustrator document. For more information on. open in Iilustrator, ‘on page 35. the types of files you c “Opening existing file + Close to exit the Welcome screen and access the rest of fllustrator ‘Toprevent the Welcome window from appearing each ‘time illustrator launches: 1. Choose Help > Welcome Screen to display the window. 2 Deselect Show This Dialog at Startup, and click Close, About the work area The Illustrator work area is arranged to help you focus on creating and editing artwork. The work, area consists of the following components: Menus The menus in the menu bar contain ‘commands for performing tasks. (See“Choosing commands” on page 22.) Tools The toolbox holds tools for drawing and editing artwork. (See “Using tools” on page 20.) Palettes Palettes help you monitor and modify artwork. (See “Using palettes” on page 23.) Artboard ‘The artboard is where you draw and lay cut your artwork, (See “Setting up the artboard” con page 35.)20| CHAPTER 1 Looking at the Work Area A{_@ tustrator file dit _object_Type ta |S 0)S 6 - E & at a Mustrator work area A. Menus B. Tools C.Artboard D. Plettes Using tools and commands Tools change the function of your mouse pointer to letyou create, select, and modify objects Commands, meanwhile, let you perform different tasks on objects you've selected and on your document. Select Filter Brropieal Cardi @ Effect View Window Help SOx (RGA/Prevew) sro ft © O Se) Using tools You use tools in the toolbox to create, select, and manipulate objects in Mlustrator. The name of the tool appears below the pointer when you hold it ‘over the tool—this is called the foo! tip. In paren- theses within the tool tip is the keyboard shorteut to select that tool.You must first select a tool to use it. The currently selected tool is highlighted in the toolbon tools also have additional tools beneath them— these are called hidden tools, When you seea small triangle at the lower right corner of the tool icon, you know that there are hidden tools. Fora display of the Illustrator tools and what they do, see “Overview of tools” in Illustrator Help. Selecting w hidden tol ‘A. Toolbox B, Active tool C. Hidden tool Dudes 1001 triangle E. Tool name and shortcut To show or hide the toolbox: Choose Window > Tools. (A check mark next to the command means that the toolbox is already displayed.) To display a tool t Hold the mouse pointer over the tool ADOBE ILLUSTRATOR CS |21 User Guide ‘To specify whether to show or hide tool tips: 1 Choose Edit > Preferences > General (Windows) or Illustrator > Preferences > General (Mac 05) 2 Select Show Tool Tips to display tool tips, deselect it to hide them. Then click OK. Toselect took: Do one of the following: + Click a tool in the toolbox. If there isa small triangle ata too!’slower right corner, hold down the mouse button to view the hidden tools. Then drag the pointer over the tool you want to select, and release the mouse button. + Press the tool's keyboard shortcut. The keyboard shortcut is displayed in its tool tip. For example, ifthe tooltip says “Hand ‘Too! (H),’ you can select the tool by pressing the “h” key on your keyboard, (See “Keys for selecting tools” on page 329.) ‘To move the toolbox: Drag the toolbox by its ttle bar. ‘To detach a toolbar from the toolbox: 1. Hold down the mouse button on a tool that has hidden tools underneath it, 2 When the hidden tools appear, drag to the arrow at the end of the toolbar and release the mouse button, The toolbar detaches from the toolbox and you can drag it by the title bar.22] CHAPTER 1 Looking at the Work Area To close a detached toolbar: Click the close box. Changing the tool pointer ‘When you select most tools, the mouse pointer matches the tool's icon. For example, choosing the paintbrush tool changes the pointer to a paint- brush. You can also change a tool pointer toa precision pointer, such as a cross hair », for greater precision when aligning or working with detailed artwork. ‘To change the pointer toa precision pointer: Do one of the following: + While the tool i selected, press Caps Lock on the keyboard + Choose Edit > Preferences > Ge (Windows) or Illustrator > Preferences > General (Mac 08). Then select Select Use Precise Cursors, and click OK. Using tool tips ‘The tool tips feature lets you display the name of tools, or of buttons and controls in palettes. ‘Toidentify a tool or control: Position the pointer over a tool or control and pause. A tool tip appears showing the name and keyboard shortcut (if any) for the item. If tool tips don't appear, the preference for displaying them may be turned off To display tooltips: 1 Choose Edit > Preferences > General (Windows) or Illustrator > Preferences > General (Mac 08). 2 Select Show Too! ips, and click OK. Not boxes. ‘Too! tips are not available in most dialog Choosing commands Commands let you perform a wide variety of tasks. Illustrator provides several ways to choose ‘commands: + ‘The menus at the top of your screen provide access to commands, If a command is dimmed ina menu, it isn't applicable to the current operation. For instance, a command may only work on aselected object, or a particular kind of object (such as type or bitmap objects). + Context-sensitive menus display commands that are relevant to the active tool, selection, or palette, To display a context menu, right-click (Windows) or Control-click (Mac OS) in the document window or palette. + Keyboard shortcuts let you quickly execute ‘commands without using a menu. When available, the keyboard shortcut appears to the right of the command name in the menu, For more information on keyboard shortcuts, see “Customizing shortcuts” on page 23 and the appendix on keyboard shortcuts. Illustrator lets you edit standard keyboard shortcuts and create new shorteuts. For more information, see *Customiizing shortcuts” on page 23Illustrator provides a set of standard keyboard shortcuts for commands and tools, Iilustrator also ships with alternative sets of keyboard shortcuts, including shortcuts for previous versions and for dother progcams You can switch between sets of shortcuts, change individual shortcuts within a set, and define your ‘own sets of shortcuts. For more information on customizing shortcuts, see Illustrator Help. Using palettes Adobe Illustrator includes a number of palettes to help you monitor and modify your work. By default, these palettes appear stacked together in several groups. You can also dock palettes so that you can move them asa unit. Each palette also has an associated menu that lists commands specifically for use with that palette For more information, see the description of individual palettes. Showing and hiding palettes You can display and hide palettes as you work, To show or hide a palette: Do one of the following: + Choose Window > [paleite name]. A check mark appears before a palette that is currently open. ADOBE ILLUSTRATOR C5. User Guide + Press Tab to hide or showall palettes and the toolbox + Press Shift+Tab to hide or show all palettes except for the toolbox. + Click the top right button (Windows) or the top left button (Mac OS) to close it, Changing the palette display You can control the size of a palette as well as how ‘many options appear in it. To change the palette display: + To change the size of a palette, drag the lower right corner of the palette. Note: Some palettes, such as the C cannot be resized by dragging. lor palette, + ‘To collapse a group to the palette titles only, click the minimize/maximize box (Windows) or click the 200m box (Mac OS). You can still open the palette menu from a collapsed palette. + To cycle through the available views of a palette—the default view, view with hidden options showing, view as resized by dragging, and palette titles only—double-click the palette’s tab. Alternately, in some palettes you can dlick the double triangle at the upper left of the palette tab to cycle through the palette displays, or choose Show Options or Hide Options from the palette ment. For maximum performance, hide all palettes except those that are necessary for your work. 23‘CHAPTER 1 Looking at the Work Area Arranging palettes ‘You can rearrange your palettes to make better use of your work area by using the following techniques: + 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’ tab. Dragging a palette outside of an existing group creates a new palette window. + To movea palette to another group, drag the palette’s tab to that group. + ‘To dock palettes so that you can move them together, drag a palette's tab to the bottom of another palette. + Tomovean entire docked palette group, drag its title bar Entering values in palettes and dialog boxes Palettes and dialog boxes let you enter numeric values ina variety of ways. As a result, you may encounter multiple ways of entering a value in a single text box. ine ine 0-25 Bt * spt - 0.75 pe Ao. er one RE) Feoceet 2 iat Angle Ws to enter values A. Arrow buttons B, Text box: C. Menu arrow Di Sller E, Dial ‘The following rules apply when entering numeric values: + You can change the type of units used for the numeric value, (See “Changing the unit of. measurement” on page 38.) + Ifyou use a unit other than the preset unit to to the set unit. For example, entering 3em in a text box set to inches converts the value to 11811 inches. enter values, Illustrator converts + You can add, subtract, multiply, divide, and define percentages in any Ilustrator text box that accepts numeric values. For example, when specifying the size of a rectangle, you can type 72 pt + 2cm for the height: Illustrator performs the calculation and applies the result.+ You can use the following units and abbrevia- tions in text boxes: inch, inches, in, millimeters, millimetres, mm, Qs (one Q equals 0.25 milli- meter), centimeters, centimetres, cm, points, p, pts picas, pe, pixel, pixels, and px. + When mixing picas and points, you can enter values as XpY; where X and Yare the number of picas and points (for example, 12p6 for 12 picas, 6 points). + Avalue without a specified unit uses the default unit for that text box, unless it follows a value with a spe that uses inches by default, typing 3 +6 would equal 3 inches plus 6 inches, or 9 inches, Typing 3em + 6 would equal 3 centimeters plus 6 centi- ‘meters, or 3.5433 inches. fied uni ‘or example, in atext box + You can us percentages in combination with units, For example, typing 3em* 50% would equal 3 centimeters multiplied by 50%, or 1.50 em, Typing 50pt + 25% would equal 50 points plus 25% of 50 points, or 62.5 p Toenter a value: Do one of the following: + ‘Type a value in the text box. To apply the entry froma palette, press the Fnter or Return key on your keyboard or seta value elsewhere in the palet + Drag the slider to the desired value, + Drag the dial to the desired value, + Clickthearrow buttonsiin the palette to increase or decrease the value. + (Windows) Click in the text box and then use the Up Arrow key and Down Arrow key on the Keyboard to increase or decrease the value ‘ADOBE ILLUSTRATOR CS |25 User Guide + Choose a value from the menu associated with the text box. ‘You can use the Tab key to move between text boxes, Viewing artwork Adobe Illustrator gives you great flexibility in viewing your artwork. You can view different areas, of the artwork at different magnifications, use simplified views for tasks such as editing paths, and preview how your artwork will appear in a ‘Web browser or in print. Magnifying and reducing the view area The Zoom-inand Zoom-out tools and commands Jet you magnify or reduce the display of any area in the file up to 64 times its actual size. You can also magnify and reduce the view area using the Navigator palette, (See “Using the Navigator palette” on page 27.) You see the current magnification level atthe top and the bottom left of the window. ‘Tozoomin: Da one of the following: + Select the Zoom tool &.’The pointer becomes a ‘magnifying glass with a plus sign in its center Click at the center of the area you want to magnify, Bach click magnifies the view to the next preset percentage, When the file has reached its maximum magnification level of {6400%, the magnifying glass appears blank,26| CHAPTER 1 Looking at the Work Area + Choose View > Zoom In. Bach click magnifies the view to the next preset percentage. When the file has reached its maximum mag level of 640%, the command is dimmed. fication + When no objects are selected, click the right mouse button (Windows) or Control-click (Mac OS) and select the Zoom In command from the context menu, + Enter a magnification level inthe Zoom text box at the lower left of the window. + Select a magnification level from the Zoom pop-up menu at the lower left of the window. To zoom out: Do one of the following: + Select the Zoom tool, then hold down Alt (Windows) or Option (Mac OS). The pointer becomes. magnifying glass with a minus sign in its center. Click the center of the area you want to reduce. Each click reduces the view to the previous preset percentage, down to a maximum reduction level of 3.13%. + Choose View > Zoom Out, Each click reduces the view to the previous preset percentage, down to a maximum reduction level of 3.13%. + When no objects are selected, click the right mouse button (Windows) or Control-click (Mac 05) and select the Zoom Out command from the context menu. + Enter a reduction Jevel in the Zoom text box at the lower left of the window. + Select a magnification level from the pop-up menu at the lower left of the window. Zoom ‘Ta choose the Zoom-in tool while using another tool, press Ctrl+spacebar (Windows) ot Cominand+spacebar (Mac OS). Ta choose the Zoom-out tool while using another ook, press Cirltalt spacebar (Windows) or Cominand-+ Options spacebar (Mac OS). To magnify by dragging: 1 Select the Zoom-in tool &, 2 Drag a dotted rectangle, called a marquee, around thearea you want to magnify. To move the marquee around the artwork, after you've begun dragging to create the marquee hold down the spacebar, and continue dragging to move the marquee toa nev location, To display afile at 100%: Choose View > Actual Size, or double-click the Zoom tool. To change the view to fit the document window: Choose View > Fit In Window, or double-click the Hand tool Navigating the view area ‘The Hand tool lets you bring another area of your artwork into view. You can also scroll through the v area using the Navigator palette. (See “Using the Navigator palette” on page 27.) The Units & Display Performance options in the Preferences dialog box let you set the quality ofthe view as you move the Hand tool‘To reposition the view with the Hand tool: 1 Select the hand tool ®, 2. Move the pointer onto the artwork, and drag in the direction in which you want the artwork to move. Q To switch to the Hand tool temporarily while using another tool, hold down the spacebar ‘To specify the quality ofthe display when using the Hand took: 1 Choose Edit > Preferences > Units & Display Performance (Windows) or Illustrator > Prefer- ences > Units & Display Performance (Mac OS). 2. 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. Using 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 document window. For more information, see “Using palettes” on page 23 ‘ADOBE ILLUSTRATOR CS |27 User Guide Navigator plete A. Thunbnail display of artwork B, Paieste mena buaton .Zoom text bax D. Zoom out button E Proxy preview area F Zoom slider G.Zoontin button Displaying the Navigator palette Choose Window > Navigator, Note: The Navigator palette may iakea long time to display when the document contains a large nuntber of objects Using the Navigator palette menu Click the Uriangle @ in the upper right corner of the palette Changing the palette display To display only artwork inside the boundaries of the artboard, choose View Artboard Only from the Navigator palette menu. Any objects outside the border of the artboard are removed from the thumbnail display.28| CHAPTER | Looking atthe Work Area To change the color of the proxy view area, choose Paleite Options from the Navigator palette menu. Choose a preset color from the Color pop-up ‘menu, or double-click the color box to choose a ‘custom color, Then click OK To display dashed lines in the document as solid lines in the Navigator palette, select Draw Dashed Lines As Solid Lines. “To specify the size at which text is replaced by a ‘gray bar in the Navigator palette, entera font size in the Greeking text box. ‘Magnifying or reducing the view Click the zoom in button or zoom out button; drag the zoom slider; or enter a percentage in the oom text box and press Enter or Return. Alternately, hold down Ctrl (Windows) or Command (Mac OS), and drag over the area of the thumbnail display that you want to magnify Moving the view Click the area of the thumbnail display that you want to view in the document window, Alternately, drag the proxy view area (the colored box) to a different area of the thumbnail display. Setting up windows and views You can open additional windows to display several views of a document at once, so that you can quickly switch between fications. For example, you can set one view highly magnified for doing close-up work on some ‘objects and create another view less magnified for laying out those objects on the page. modes or magni- ‘To change the screen mode for illustration windows: Glick a screen mode button in the toolbox: + ‘The let (Standard Seren mode) button & displays artwork in a standard window, with a ‘menu bar at the top and scroll bars on the sides. + ‘The center (Full Screen Mode with Menu Bar) button & displays artwork in a full-screen window with a menu bar but with no ttle baror scroll bars. ‘+ The right (Full Screen Mode) button @ displays artwork in @ full-screen window, with no title bar, menu bar, or scroll bars. dow: Toopenanew Choose Window > New Window. A new window of the same size appears on top of the previously active window. The two windows Th ntical except for their window numbers, -w window is now the active window To close a window: Do one of the following: + Click the close button on the window. *+ Choose File > Close to close the active window. + Press Alt (Windows) or Option (Mac OS) and choose File > Close to close all document windows.To arrange multiple windows (Windows only}: Do one of the following: + Choose Window > Cascade to display windows stacked and cascading from the top left to the bottom right of the screen, + Choose Window > Tileto display windows edge to edge. choose Window > Arrange Icons to arrange minimized windows within the program window. Tocreatea view: 1 Set up the view that you want. 2 Choose View > New View. 3. Entera name for the new view, and click OK. The view names, along with keyboard shortcuts for choosing them, appear at the bottom of the View menu. You can create and store up to 25 views for each document, Toretrievea view: Choose View, followed by the name of the view you want to use. ‘To rename or delete a view: 1. Choose View > Edit Views 2 Select the view you want to edit, and rename it or click Delete. ADOBEILLUSTRATORCS (29 User Guide Viewing artwork as paths By default, Adobe Illustrator sets the view so that all artwork is previewed in color. However, you can toggle the Preview command to Outline, so that your artwork is displayed only as paths, with all . Viewing artwork without paint attributes hidder paint attributes speeds up the time it takes to redraw the screen when working with complex artwork. ‘To view the artwork in color or as path outlines: Choose a viewing option: + Choose View > Pixel Preview to display the artwork as close as possible to how it will be printed—drawn with as much color, shading, and detail as your monite: displaying. capable of + Choose View > Outline to display the artworkas paths, hiding each object’ paint attributes, + Use the Layers palette to change the view mode ofa layer, group, or object. (See “Changing the display of layered artwork" on page 102.) Use the New Window comnmand to see your layout in Preview view in one window while editing in Outline view in another. Viewing artwork as pixels In Pixel Preview mode, you can preview how your artwork will appear when it is rasterized and viewed in « Web browser. For more information, see “Working in pixel preview mode” on page 274.CHAPTER 1 Looking at the Work Area Previewing how artwork will print Illustrator provides several ways to preview how aspects of artwork will look when printed, depending on whether you are creating color separated output, flattening transparency, or switching viewing devices when using color management. ‘+ Overprint Preview mode provides an “ink preview” that approximates how blending transparency, and overprinting will appear in color-separated output. For more information on overprinting, see “Step 2: Select overprint options for overlapping colors” on page 488, To preview how colors will overprint and blend, choose View > Overprint Preview. Flattener preview highlights areas of the artwork that meet certain criteria for flattening, For more information, see “About flattening n page 313. To highlight these areas, choose Window > Flattener Preview and specify the options you want. (See “Using the Flattener Preview palette” on page 318.) transparent artwork” + If you are using HMlustrator’s color management features, you can also display an online preview ‘of how your document's colors will appear on a particular type of monitor or output device. (See *Soft- proofing colors” on page 237.) + Anti-aliasing gives vector objects a smoother ‘on-screen appearance and gives you a better idea of how vector artwork will look when printed ona PostScript printer. This is because scteon resoltition is relatively limited, but vector artwork is often printed at a high resolution. ‘To turn on anti-aliasing, choose Edit > Prefer ences > General (Windows) or Illustrator > Preferences > General (Mac OS), select Anti aliased Artwork, and click OK. Using the status bar Atthe bottom left edge of the Illustrator docament window is the status bar. The status bar contains the Zoom pop-up menu and the Status pop-up ‘menu. The Status menu can display information about any of the following topics: + The current tool in use. + The date and time. + ‘The number of undos and redos available. + The document color profile. For information on color profiles, see “About color management” on page 225, If you're working with a managed file from an Adobe Version Gue projet, the status bar provides additional inforrmation about the statis of. the ile, (See “Working with Adobe Version Cue managed projects” on page 31.) ‘To specify the type of information to display in the Status pop-up menu: Choose the type of information from the pop-upUndoing and redoing changes You can use the Undo command to correct, mistakes you make while using the Adobe Illus trator program. You can even undo an operation after you choose the Save command (but not ifyou have closed and then reopened the file). Ifan 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 also revert a file to the version that was last saved (but no! reopened the file). f you have closed and then ‘To undo or redo an operation: ‘Choose Edit > Undo or Edit > Redo, (Depending. ‘on the memory available to your system, you can ‘choose Undo an unlimited number of times.) Toreverta file to the last saved version: Choose File > Revert. You cannot undo this action, Customizing your Illustrator workspace You can customize the way Illustrator works by specifying preferences, using plug-in modules for added functionality, and creating a custom startup file that provides specific swatches, as well as various settings for new documents you create. For more information on customizing your workspace, see IMlustrator Help, ADOBE ILLUSTRATOR CS User Guide Working with Adobe Version Cue managed projects Adobe Version Cue" isan innovative set of features designed to increase your productivity when you ‘work lone or collaborate with others. Version Cue integrates design management into your existing workflows within and across the Adobe Creative Suite applications, including Adobe Adobe Illustrator CS, Adobe InDesign CS, and Adobe Photoshop CS. Note: The Version Cue features are only compatible with the Adobe Version Cue Workspace, which is only available as part ofthe Adobe Creative Suite Version Cue streamlines the following tasks while you work in the Creative Suite: + Creating file versions. + 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 statuses in private and shared projects while you browse In addition, you can use the Version Cue Workspace Administration for more advanced tasks: + Duplicate, export, backup and restore projects, + View information about projects in the workspace. + Import files to the workspace using FTP or WebDav, 31132) CHAPTER T Looking at the Work Area + Delete file versions and remove file locks, + Create project users and define their project privileges. + Restrict access to a specific project ‘Toturn on Version Cue features in Ilustrator: 1 Choose Edit > Preferences > Files & Clipboard (Windows) or Illustrator > Preferences > Files & Clipboard (Mac 08). 2 Select Enable Version Cue, and click OK. To view the complete Version Cue documentation, see Adobe Version Cue Help. You can also view the ‘Version Cue documentation asa PDF or printit by 1g the VersionCueHelp paf file located on ative Suite CD and the Adobe Illus- op the Adobe C trator CS CD. Exiting Illustrator When you are finished creating artwork in Mlus- trator, you can quit the program. This frees memory for use in other applications. To closea file and quit illustrator: 1 Choose File > Exit (Windows) oF Illustrator > Quit Ilustrator (Mac OS). 2 Ifthe file has not yet been saved or named, a notice appears giving you the option of saving the file, To save the file, click Save, enter a name in the Name text box (if necessary}, choose a file format and location, and then click Save.33 Chapter 2: Creating Artwork in Illustrator mages, resolution, and calor. About creating artwork Computer graphics fall into two main categories—bitmap and vector. You can work with both types of graphics in Illustrators moreoversan Illustrator document can contain both bitmap and vector data. Understanding the difference between the two categories helps as you create, edit, and import artwork. Por more information on creating, both vector and bitmap artwork, see IMustrator Help. Creating and opening documents A ddocuntent isthe space in which you create artwork. You from scratch or based on a template. You can also open existing files as Mlustrator documents. create new Illustrator documents Creating new documents ustrator provides two ways to create new documents: from scratch and from templates: + Creating document from seratch gives you a blank document with the default fill nd stroke colors, graphic styles, brushes, symbols, actions, viewing preferences, and other settings. + Creating a document from a template gives you a document with preset design elements and gs: Illustrator comes with a variety of sett templates, including templates for letterhead, business cards, envelopes, brochures, labels, certificates, post cards, greeting cards, and Web sites. You can also create your own templates, (See “Creating new templates” on page 34.) ‘To create anew document from scratch: 1. Choose File > New 2 Inthe New Document dialog box, set any of the following options and click OK: + Name to specify a name for the new document, 1e to choose a preset size for the artboard. Note: The size of the artboard does not define the size of the printed page. Tlie paper size is derived from _your print settings, (See “Using the Print dialog bax” ‘an page 298 and “Specifying the media size and orientation” on page 300.)38] CHAPTER 2 Creating Artwork in Mlustrator + Width and Height to specify a custom size for the arthoard, + Units to choose a measurement system for the document. The option you choose determines the default unit of measurement used for rulers and in dialog boxes. (See “Laying out artwork with precision” on page 38.) + Orientation to change the orientation of the artboard between portrait and landscape. + CMYK Color or RGB Color to choose a color mode for the document. In general, choose CMYK if the artwork will be printed and RGB if the artwork will be published on the Web. For more information, see “About color models, color mades, and color management” on page 139. To create a new document without opening the New Document dialog box, press CirlAh+N (Windows) or Command-+OptionsN (Mac OS). The new, untitled document has the settings last used. To create a new document from a templa 1 Choose File> New from Template. 2 Select the template you want to u click New. Creating new templates sw documents thatt share Templateslet you creat common settings and design elements. For example, if you need to design a series of business cards with a simi template with the desired artboard 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. ar look and feel, you can create a 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. © Templates offer a powerful alternative ro creating custom startup files. While you can ‘only create two easton startup files (one for CMYK ‘mode and one for RGB mode), you can create un unlimited number of templates to meet your design and production needs In addition, you can storeand access templates anywhere, as oppose to startup files that must have a specific name and location. To create a template: 1. Open a new or existing document. 2 Costomize 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 orimportanyartwork 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 sant in the corre sponding palettes. You can also import preset swatches, styles, brushes, symbols, and actions from a variety of libraries that come with Ulustrator. *+ 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. 3 choose File > Save As Template. 4 In the Save As dialog box, select a location for the file, enter a filename, and click Save. Ilustrator saves the file in AIT (Adobe Illustrator Template} format Opening existing files You can open files that were created in Illustrator well as files that were created in other applica- tions, When you open an existing file, the artwork inthe file appears in an IMustrator document. For more information on the fle formats Illustrator can open, see “About importing artwork” on page 45 Note: If you're working with managed files frorn an Adobe Version Cue project, see also “Working with Adobe Version Cue managed projects" on page 31. [ADOBE ILLUSTRATOR C5 |35 User Guidi ‘To open an existing fle: 1 Choose File > Open. 2 Locate and select the file you want to open, Ifyou don't see the name of the file you want, make stre all formatsare showing. Ifyou still don’t see the file it is stored in a format that illustrator can't read, 3 Click Open, ‘Toopena file that has recently been us Choose File > Open Recent Files, nd choose the filename from the list. Setting up the artboard After you create or open a document, you can set Up the artboard to best meet your design and final ‘output requirements. For example, you can change the size and color of the arthoard, divide the artboard into multiple page tiles, and reposition the page boundari About the artboard In Adobe Illustrator, the artboard represents the entire region that can contain printable artwork, However, the artboard'’s dimensions do not neces- sarily match the current paper size. For example, your artboard may be 10 x 20 inches while your print settings specify 8 and one-half x 11 inch paper. For more information on choosing a printer and paper size, see "Using the Print dialog box” on page 298 and "Specifying the media siz and orientation’ on page 304.36| CHAPTER 2 Creating Artwork in illustrator © When the ariboard is larger than the paper size you can choose to divide the arthoard into muttiple page tiles. (See "Dividing the artboard into nvultiple page tiles” on page 3 ‘Youcan view the page boundaries in relation to the artboard by showing page tiling, When page tiling, ison, 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. To show or hide page tiling boundaries: Choose View > Show Page Tiling or View > Hie Page Tiling. eee Mel Ilustrator work ree A lnageable area B, Nonimageable are Bie of the poge D. Artbowrd E.Serutsh area Imageable area. ‘The imageable 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. Nonimageablearea The nonimageable area between the two sets of dotted lines representing, any nonprintable margin of the page. Edge of the page The page edge is indicated by the outermost set of dotted lines. Artboard. The arthoard is hounded by solid lines and represents the maximum printable area. You can hide the artboard boundaries if desired. ( “Showingand hiding the artboard boundaries" on. page 36.) Scratch area. The scratch area is the area outside the arthoard that extends to the edge of the 227-inch square window. The scratch area repre- ice on which you can create, edit, and rents of artwork before moving them onto the artboard. Objects placed onto the scratch ible on-screen, but they do not print. sents store el Showing and hiding the artboard boundaries ‘The arthoard is bounded by solid lines and repre sents the entire region that can contain printable artwork, You can choose to hide the artboard boundaries if it suits your working style, ‘To show or hide the artboard boundaries: Choose View > Show Artboard or View > Hide Artboard.Changing the size and color of the artboard You specify the size of the artboard when you create 4 new document. However, you can change the size of the arthoard at any time, You can also change the color of the artboard to view your document as it might appear when printed on colored paper. Forexample, 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, ‘To change the size of the artboard: 1 Choose File > Document Setup. Then choose Artboard from the pop-up menu at the top left of the Document Setup dialog box 2 Set any of the following options, and click OK: ize to choose a preset size for the arthoard. + Width and Height to specify a custom size for the arthoard. Note: The sizeof the arthoard does not define the size cof the printed page. The paper size is derived from your print settings. (See *Using the Print dialog bax” ‘on page 298 and “Specifying the media size and oriewation” on page 300.) *+ Orientation to change the orientation of the arthoard between portrait and landscape To change the color of the artboard: 1 Choose File > Document Setup. Then choose ‘Transparency from the pop-up menu at the top left of the Document Setup dialog box. 2 Select Simulate Colored Paper, ADOBE ILLUSTRATOR CS |37 User Guide 3 Click the top color swatch, and select a new color using the Color dialog box. 4 Click OK. MEMYK documents, choosing the Simulare Colored Paper option is even useful with a white background, as it gives you a more accurate preview of how non-opaque artwork will print. fing the artboard into multiple pagetiles By default, Mustrator prints your artwork ona ingle sheet of paper. However, ifthe 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 i option in the Setup section of the Print dialog box, (See "Using the Print dialog box” on page 298 and. “Setting setup options” on page 302.) To view the page tiling boundaries on the artboard, choose View > Show Page Tiling, iM C is called tiling. You can choose tiling a Arto divided into rneltipe page ties38 | CHAPTER? Creating Artwork in lustrator ‘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 spe; particular pages to print. Moving the printable area You can adjust the placement of the printable area ‘of the page to control how artworks printed. This isa good way to avoid having the artwork extend past the boundaries of the current page. When adjusting the printable area, you nay find it easiest to choose View > Fit in Window 0 you can see all of your artwork ‘Toadjust the printable area using the 1 Select the Page tool :. The pointer becomes a dotted cross when you move it to the active window. 2 Drag the printable area to the new location. As ‘you drag, the Page tool responds as ifyou were moving the page from its lower eft earner. Note: You can move the printable area anywhere on the arthoards however, any part of a page that extends past the printable area boundary isnot printed. Laying out artwork with precision Measurement isan important aspeet of laying out artwork. Ilstrator provides a variety of ways to ‘measure the size and position of objects on the antboard. Rulers, guides, and the grid help your align the elements in your artwork, and the “Measure tool and Info palette give you feedback on the exact position of objects. If desired, you ean change the system of measurement used for rulers and in dialog boxes. Changing the unit of measurement The default anit of measurement in Illustrator is points (a point equals.3528 millimeter). You can change the unit of measurement to inches, milli- meters, centimeters, peas (a pica equals 12 points ‘or 4.2333 millimeters), or pixels. This general unit, of meastirement is used for rulers, measuring the distance between points, moving and trans- forming objects, setting grid and guides spacing, and creating shapes. For rules that apply when you enter unit walnes, see “Entering values in palettes and dialog boxes” on page 24 Note: Illustrator provides separate options for changing stroke and type units, (See "Changing stroke attributes" on page 157 and “Changing the type units” on page 252.)‘Toset the unit of measurement for all documents: 1. Choose Fait > Pre nits & Display Performance (Windows) or Mlustrator > Prefer- ‘ences > Units & Display Performance (Mac OS). 2. From the General pop-up menu, choose the tunit of measure you want to use, and click OK. ‘Toset the unit of measurement for only the ‘current document: 1 Choose File > Document Setup. Choose Artboard from the pop-up menu at the tap left of the Docuiment Setup dialog box. 2 From the Units pop-up menu, choose the unit, cof measutre you want to use, and click OK. © Yow ean quickly change the units of measure by right-clicking (Windows) or Control-clicking (Mac OS) the ruler and choosing a new unit of. measure from the menu that appears. Using rulers Dlustrator can display rulers, one along the top and one along the left side of the illustration window: When you open a new file, the rulers are not visible, but you can display them at any time. These rulers are a tool for accurately placing and ‘measuring objects on the artboard. As you scroll and zoom around the file, the rulers adjust accordingly. ‘ADOBE ILLUSTRATOR CS |39 User Guide To show or hide rulers: Choose View > Show Rulers or View > Hide Rulers, ‘The point where 0 appears on each ruler is called the ruler origin. When you open afile, the position. of the ruler origin depends on the options in the Setup section of the Print dialog box. Generally, the default ruler origin is located at the lower left comer of the arthoard. ‘When you change the rulersetting, the new setting becomes the default for the fle whenever that file is opened. You can change the origin for the rulers at any time, For example, you may be working on a 3-inch-by-5-inch card that is centered on an 8.5-inch-by-I1-inch page, Setting the ruler origin to line up with the 3-by-5-inch artwork rather than the 8.5-by-II-inch page can make precision editing easier for you. Note: Changing the ruler origin affects the tiling of patterns avid the display of artwork in the Print diatog box To change the ruler origin: 1. Move the pointer to the upper left corner of the rulers where the rulers intersect. 2 Do one of the following: *+ Drag the pointer to where you want the new ruler origin. As you drag, cross hair in the ‘window and in the rulers indicates the changing ruler origin, + Double-click the upper left corner where the rulers intersect to restore the default settings.40] CHAPTER? Creating Artwork illustrator Using the grid ‘The grid appears as lines or dots behind your artwork, and it does not print. You use the grid to Jay out objects or elements symmetrically. Selected artwork and tools snap to the grid if Snap ‘To Grid is turned on ‘Youcan choose between two grid styles—dots and Jines—and you can change the color ofthe grid by using either predefined grid colors or colors you select using a color spacing between major gridlines and subdivi gridiines. ‘ker. You can also change the ng ‘To show or hide the grid: Choose View > Show Grid or View > Hide Grid, ‘To snap artwork to grilines: Choose View > Snap to Grid. A check mark indicates that snapping is turned on. Note: When your documents viewing made is Pixet Preview, the Snap to Grid command in the View menu changes to Snap to Pixel. For more infor- ‘mation, see “Working in pixel preview mode” on page 274 To change grid settings: 1. Choose Edit > Preferences > Guides & Grid (Windows) or Illustrator > Preferences > Guides & Grid (Mac 05). 2 Set any of the following options, and click OK: *+ Color to choose a color far the grid. Ifyou choose Other, click the color box, choose: from the color picker,and click OK. color + Style to choose a display option for the gridlines + Gridline Every to enter new value (and unit of the spacing of primary measureif necessary) fo grid + Subdivisions to enter a value to subdivide the grid, + Grids in Back to display the grid behind all artwork; ceseleet the option to display the grid in front ofall artwork, Using guides To help align text and graphic objects on the page, you can create and display alignment outlines called guides, 1 dragging an object, the cursor snaps to guides if Snap ‘To Point js turned on. (See “Snapping to a point” on page 42.) ce grids, guides do not print. When You can create two kinds of guides: + Ruler guides are straight horizontal or vertical lines created with the ruler. These guides are the simplest to make and ate useful for setting alignment lines across the length or width of the work area, + Guide objects are vector objects (such as lines, rectangles, or any other artwork consisting of paths, except type) that are converted ta guides, Using guide objects can help you plan and create your artwork around one or more objects. You can convert guide objects back into graphic objects at any timeNew guides are locked in place to orient your artwork, However, you can unlock a guide to select, move; delete, or modify ito revert #10 a graphic object. Tocreatea ruler guide: 1 Ifthe rulers are not already displayed, choose View > Show Rulers 2 Position the pointer on the left ruler for a vertical guide or on the top ruler for a horizontal guide. Press Alt (Windows) or Option (Mac OS) te switch the ruler guide fron horizontal to vertical, and vice versa 3. Drag the ruler guide into position, 9 To make working with multiple guides easier, place all guides on a single layer. You can then choose the layer to select all guides for moving or adjusting, (See “Organizing objects using lave page 99.) To convert an object into a guide object: 1 Select an objectya group of objects, or any combination of objects and groups, 2 Choose View > Guides > Make Guides. To lock or unlock guides: ‘Choose View > Guides > Lock Guides. A check mark indicates that all guides are locked To move, delete, or release a guide: 1. Make sure that the guides are unlocked ADOBE ILLUSTRATOR CS [41 User Guide 2 Select the guide you want to move, delete, or release, and do one of the fallawing + Move the guide by dragging or copying. + Delete the guide by pressing Backspace or Del {Windows} or Delete (Mac OS), or by choosing, Fair > Cur or Edit > Clear. + Delete all guides at ance hy choosing Ghides > Clear Guides, + Release the guide, turning it hack into graphic object, by choosing View = Gh Release Guides. regular ides > To show or hide guides: Choose View > Guides » Show Guides to show all auides or View > Guides > Hide Guides 1p hide them. ‘To change guide settings: 1. Choose Fit > Preferences > Guides & Grid (Windows) or Mustrator > Preferences > Guides & Grid (MacOS), 2 Set either of the following options. and click OK: + Por Color, choose a calor for the gies. If you choose Other.click the calor hox, choose a color from the color picker, and click OK. + Por Style, choosea display option for the guides.42] CHAPTER 2 Creating Artwork in lustrator Snapping toa point When dragging objects, the Snap to Point command helps you align your cursor with anchor points and guides in the document window. Snapping occurs when the cursor is within 2 pixels, of the point or guide, Important: Snapping alignmen depends on the position ofthe cursor, nor the edges ofthe dragged abject. ‘To snap to anchor points and gui 1. Choose View > Snap to Point. A check mark indicates that snapping is turned on, 2 Select the object you want 10 move. 3 Position your cursor‘on the exact point you ‘want to align with anchor points and guides hold down the mouse button, nd For example, if you want to align the corner point of a rectangle with a guide, click down exactly on the corner point 4 Drag the object to the desired location. When your cursor comes within 2 pixels of an anchor point or guide, it snaps to the point. The pointer changes fram a filled arrowhead toa hollow arrowhead when a snap occurs, Using Smart Guides Smart Guides are temporary “snap to” guides that help you create, align, edit,and transform objects relative to other objects. You can also use Smart ‘Guides when rotating, scaling, and shearing objects. When Smart Guides are turned on and you move the cursor aver your artwork, the cursor looks for objects, page boundaries, and intersections of construction guides to snap to, The direction, angle, tolerance, and appearance of Smart Guides are determined by settings in the preferences file You can use Smart Guides in the following ways when you create, move, and transform objects: + 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 cursor, not the ‘edges of the object, so be sure to click to the exact point you want to align to. + When the Transform Tools option is selected in Simart Guides Preferences and you transform an object, Smart Guides automatically appear to assist the transformation, Note: When Snap to Grid is turned on, you cannot tise Sriart Guides (even if the menu command is selected), To tum Smart Guides on or off ‘To turn Smart Guides on or off, choose View > Smart Guides. A check mark appears next to the command when Smart Guides are turned on.