Adobe Illustrator CS3 User Manual

ADOBE® ILLUSTRATOR® CS3

USER GUIDE

Adobe® Illustrator® CS3 User Guide for Windows® and Macintosh

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

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

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

Adobe, the Adobe logo, Acrobat, After Effects, Creative Suite, Dreamweaver, Flash, Illustrator, InDesign, the Open Type logo, and Photoshop are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries.

Microsoft, OpenType, and Windows are registered trademarks of Microsoft Corporation in the U.S and/or other countries. Apple, Mac, Mac OS, and Macintosh are trademarks of Apple Inc. registered in the United States and other countries. Certain trademarks are owned by The Proximity Division of Franklin Electronic Publishers, Inc., and are used by permission. Merriam-Webster is a trademark of Merriam-Webster, Inc. All other trademarks are the property of their respective owners.

This product includes either BISAFE and/or TIPEM software by RSA Data Security, Inc.Copyright © 1995-2002 Metrowerks Corporation. All rights reserved.Copyright © 1994 Hewlett-Packard CompanyCopyright © 1996, 1997 Silicon Graphics Computer Systems, Inc.Copyright © 1998 Gilles VollantThis product includes software developed by the Apache Software Foundation (

http://www.apache.org)This Program was written with MacApp®: ©1985-1988 Apple Computer, Inc. The MacApp software is proprietary to Apple Computer, Inc. and is licensed to Adobe for distribution only for use in combination with Adobe Illustrator.PANTONE® Colors displayed in the software application or in the user documentation may not match PANTONE-identified standards.Consult current PANTONE Color Publications for accurate color. PANTONE® and other Pantone, Inc. trademarks are property of Pantone, Inc. © Pantone, Inc. 2006. Pantone, Inc. is the copyright owner of color data and/or software which are licensed to Adobe Systems Incorpo rated to distribute for use only in combination with Adobe Illustrator. PANTONE Color Data and/or Software shall not be copied onto another disk or into memory unless as part of the execution of Adobe Illustrator software.Software is produced under DIC's copyrights of color-data-base derived from Sample Books.Flash 9 video is powered by On2 TrueMotion video technology. © 1992-2005 On2 Technologies, Inc. All Rights Reserved.

http://www.on2.com This product includes software developed by the OpenSymphony Group (http://www.opensymphony.com/)Portions of this code are licensed from Nellymoser (www.nellymoser.com)Sorenson Spark™ video compression and decompression technology licensed from Sorenson Media, Inc.

Certain Spelling portions of this product are based on Proximity Linguist ic Technology. ©Copyright 1990 Merr iam-Webster Inc. ©Copyright 1990 All rights res erved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 2003 Franklin Electronic Publishers Inc.©Copyright 2003 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. Legal Supplement ©Copyright 1990/1994 Merriam-Webster Inc./Franklin Electronic Publishers Inc. ©Copyright 1994 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1990/1994 Merriam-Webster Inc./Franklin Electronic Publishers Inc. ©Copyright 1997All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA ©Copyright 1990 Merriam-Webster Inc. ©Copyright 1993 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 2004 Franklin Electronic Publishers Inc. ©Copyright 2004 All rights reserved. Proximity Te chnology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1991 Dr. Lluis de Yzaguirre I Maura ©Copyright 1991 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1990 Munksgaard International Publishers Ltd. ©Copyright 1990 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1990 Van Dale Lexicografie bv ©Copyright 1990 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1995 Van Dale Lexicografie bv ©Copyright 1996 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1990 IDE a.s. ©Copyright 1990 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1992 Hachette/Franklin Electronic Publishers Inc. ©Copyright 2004 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1991 Text & Satz Datentechnik ©Copyright 1991 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 2004 Bertelsmann Lexikon Verlag ©Copyright 2004 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 2004 MorphoLogic Inc. ©Copyright 2004 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1990 William Collins Sons & Co. Ltd. ©Copyright 1990 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1993-95 Russicon Company Ltd. ©Copyright 1995 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 2004 IDE a.s. ©Copyright 2004 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. The Hyphenation portion of this product is based on Proximity Linguistic Technology. ©Copyright 2003 Franklin Electronic Publishers Inc.©Copyright 2003 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1984 William Collins Sons & Co. Ltd. ©Copyright 1988 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1990 Munksgaard International Publishers Ltd. ©Copyright 1990 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1997 Van Dale Lexicografie bv ©Copyright 1997 All rights reser ved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1984 Editions Fernand Nathan ©Copyright 1989 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1983 S Fischer Verlag ©Copyright 1997 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1989 Zanichelli ©Copyright 1989 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1989 IDE a.s. ©Copyright 1989 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1990 Espasa-Calpe ©Copyright 1990 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1989 C.A. Stromberg AB. ©Copyright 1989 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA.

Notice to U.S. Government End Users: The Software and Documentation are “Commercial Items,” as that term is defined at 48 C.F.R. §2.101, consisting of “Commercial Computer Software” and “Commercial Computer Software Documentation,” as such terms are used in 48 C.F.R. §12.212 or 48 C.F.R. §227.7202, as applicable. Consistent with 48 C.F.R. §12.212 or 48 C.F.R. §§227.7202-1 through 227.7202-4, as applicable, the Commercial Computer Software and Commercial Computer Software Documentation are being licensed to U.S. Gover nment end us ers (a) only as Commercial Items and (b) with only those rights as are granted to all other end users pursuant to the terms and conditions herein. Unpublished-rights reserved under the copyright laws of the United States. Adobe agrees to comply with all applicable equal opportunity laws including, if appropriate, the provisions of Executive Order 11246, as amended, Section 402 of the Vietnam Era Veterans Readjustment Assistance Act of 1974 (38 USC 4212), and Section 503 of the Rehabilitation Act of 1973, as amended, and the regulations at 41 CFR Parts 60-1 through 60-60, 60-250, and 60-741. The affirmative action clause and regulations contained in the preceding sentence shall be incorporated by reference.

Adobe Systems Incorporated, 345 Park Avenue, San Jose, California 95110, USA.

Chapter 1: Getting started

Installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

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

Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

What’s new . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Chapter 2: Work area

Work area basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Customizing the workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Files and templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Cropping artwork . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Viewing artwork . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Rulers, grids, and guides . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Setting preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Recovery, undo, and automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

iii

Chapter 3: Drawing

Drawing basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Drawing simple lines and shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Drawing flares . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Drawing with the Pencil tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Drawing with the Pen tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Editing paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Tracing artwork . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Symbolism tools and symbol sets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Chapter 4: Color

About color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Selecting colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Using and creating swatches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

Managing swatches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Working with color groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Adjusting colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

Chapter 5: Color management

Understanding color management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

Keeping colors consistent . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Color-managing imported images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134

Color-managing documents for online viewing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136

Proofing colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Color-managing documents when printing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139

Working with color profiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141

Color settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146

Chapter 6: Painting

Painting with fills and strokes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151

Live Paint groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158

Brushes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165

Transparency and blending modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173

Gradients, meshes, and color blends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182

Patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187

Chapter 7: Selecting and arranging objects

Selecting objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193

Grouping and expanding objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201

Moving, aligning, and distributing objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203

Rotating and reflecting objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206

Using layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211

Locking, hiding, and deleting objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215

Stacking objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216

Duplicating objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

Chapter 8: Reshaping objects

Transforming objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220

Scaling, shearing, and distorting objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222

Reshape using envelopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226

Combining objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229

Cutting and dividing objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235

Clipping masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237

Blending objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239

Reshaping objects with effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243

Creating 3D objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244

Chapter 9: Importing, exporting, and saving

Importing files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253

Importing bitmap images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258

Importing Adobe PDF files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259

Importing EPS, DCS, and AutoCAD files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260

Importing artwork from Photoshop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262

Saving artwork . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264

Exporting artwork . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269

Creating Adobe PDF files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276

Adobe PDF options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280

File information and metadata . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287

Chapter 10: Type

Creating and importing type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289

Working with area type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292

Working with type on a path . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297

Scaling and rotating type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300

Spelling and language dictionaries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301

Fonts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303

Formatting type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305

Line and character spacing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314

Special characters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316

Formatting paragraphs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .319

Hyphenation and line breaks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324

Tabs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326

Character and paragraph styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329

Exporting text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .331

Formatting Asian characters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333

Creating composite fonts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341

Updating text from Illustrator 10 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344

Chapter 11: Creating special effects

Appearance attributes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .346

Working with effects and filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 350

Summary of effects and filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354

Drop shadows, glows, and feathering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 362

Creating sketches and mosaics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364

Changing vector graphics to bitmap images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365

Graphic styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366

Chapter 12: Web graphics

Best practices for creating web graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370

Slices and image maps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371

SVG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375

Creating animations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378

Optimizing images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 381

Web graphics optimization options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386

Output settings for web graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397

Chapter 13: Printing

Basic printing tasks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 401

Printing color separations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 403

Setting up pages for printing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 406

Printer’s marks and bleed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 408

PostScript printing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 410

Printing with color management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 413

Printing gradients, meshes, and color blends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 414

Printing and saving transparent artwork . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417

Overprinting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 424

Trapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 426

Print presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 430

Chapter 14: Automating tasks

Actions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 433

Scripts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441

Data-driven graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441

Chapter 15: Graphs

Creating graphs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447

Formatting graphs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451

Adding pictures and symbols to graphs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 456

Chapter 16: Keyboard shortcuts

Customizing keyboard shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 460

Default keyboard shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 461

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 472

Chapter 1: Getting started

If you haven’t installed your new software, begin by reading some information on installation and other preliminaries. Before you begin working with your software, take a few moments to read an overview of Adobe Help and of the many resources available to users. You have access to instructional videos, plug-ins, templates, user communities, seminars, tutorials, RSS feeds, and much more.

Installation

Requirements

❖ To review complete system requirements and recommendations for your Adobe® software, see the Read Me file

on the installation DVD.

Install the software

1 Close any other Adobe applications open on your computer.

2 Insert the installation disc into your DVD drive, and follow the on-screen instructions.

Note: For more information, see the Read Me file on the installation DVD.

Activate the software

If you have a single-user retail license for your Adobe software, you will be asked to activate your software; this is a simple, anonymous process that you must complete within 30 days of starting the software.

For more information on product activation, see the Read Me file on your installation DVD, or visit the Adobe website at

1 If the Activation dialog box isn’t already open, choose Help > Activate.

2 Follow the on-screen instructions.

Note: If you want to install the software on a different computer, you must first deactivate it on your computer. Choose Help > Deactivate.

www.adobe.com/go/activation.

Register

❖ To register, follow the on-screen instructions in the Registration dialog box, which appears after you install and

activate the software.

If you postpone registration, you can register at any time by choosing Help > Registration.

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Read Me

The installation DVD contains the Read Me file for your software. (This file is also copied to the application folder during product installation.) Open the file to read important information about the following topics:

• System requirements

• Installation (including uninstalling the software)

• Activation and registration

• Font installation

• Troubleshooting

• Customer support

• Legal notices

Adobe Help

Adobe Help resources

Documentation for your Adobe software is available in a variety of formats.

In-product and LiveDocs Help

In-product Help provides access to all documentation and instructional content available at the time the software ships. It is available through the Help menu in your Adobe software.

LiveDocs Help includes all the content from in-product Help, plus updates and links to additional instructional content available on the web. For some products, you can also add comments to the topics in LiveDocs Help. Find LiveDocs Help for your product in the Adobe Help Resource Center, at

www.adobe.com/go/documentation.

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Most versions of in-product and LiveDocs Help let you search across the Help systems of multiple products. Topics may also contain links to relevant content on the web or to topics in the Help of another product.

Think of Help, both in the product and on the web, as a hub for accessing additional content and communities of users. The most complete and up-to-date version of Help is always on the web.

PDF documentation

The in-product Help is also available as a PDF that is optimized for printing. Other documents, such as installation guides and white papers, may also be provided as PDFs.

All PDF documentation is available through the Adobe Help Resource Center, at www.adobe.com/go/documen-

tation. To see the PDF documentation included with your software, look in the Documents folder on the installation

or content DVD.

Printed documentation

Printed editions of the in-product Help are available for purchase in the Adobe Store, at www.adobe.com/go/store. You can also find books published by Adobe publishing partners in the Adobe Store.

A printed workflow guide is included with all Adobe Creative Suite® 3 products, and stand-alone Adobe products may include a printed getting started guide.

Using Help in the product

In-product Help is available through the Help menu. After you start the Adobe Help Viewer, click Browse to see Help for additional Adobe products installed on your computer.

These Help features facilitate cross-product learning:

• Topics may contain links to the Help systems of other Adobe products or to additional content on the web.

• Some topics are shared across two or more products. For instance, if you see a Help topic with an Adobe

Photoshop® icon and an Adobe After Effects® icon, you know that the topic either describes functionality that is similar in the two products or describes cross-product workflows.

• You can search across the Help systems of multiple products.

If you search for a phrase, such as “shape tool,” enclose it in quotation marks to see only those topics that include all the words in the phrase.

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Adobe Help A. Back/Forward buttons (previously visited links) B. Expandable subtopics C. Icons indicating shared topic D. Previous/Next buttons (topics in sequential order)

Accessibility features

Adobe Help content is accessible to people with disabilities—such as mobility impairments, blindness, and low vision. In-product Help supports these standard accessibility features:

• The user can change text size with standard context menu commands.

• Links are underlined for easy recognition.

• If link text doesn’t match the title of the destination, the title is referenced in the Title attribute of the Anchor tag.

For example, the Previous and Next links include the titles of the previous and next topics.

• Content supports high-contrast mode.

• Graphics without captions include alternate text.

• Each frame has a title to indicate its purpose.

• Standard HTML tags define content structure for screen reading or text-to-speech tools.

• Style sheets control formatting, so there are no embedded fonts.

Keyboard shortcuts for Help toolbar controls (Windows)

Back button Alt+Left Arrow

Forward button Alt+Right Arrow

Print Ctrl+P

About button Ctrl+I

Browse menu Alt+Down Arrow or Alt+Up Arrow to view Help for another application

Search box Ctrl+S to place the insertion point in the Search box

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Keyboard shortcuts for Help navigation (Windows)

• To move between panes, press Ctrl+Tab (forward) and Shift+Ctrl+Tab (backward).

• To move through and outline links in a pane, press Tab (forward) or Shift+Tab (backward).

• To activate an outlined link, press Enter.

• To make text bigger, press Ctrl+equal sign.

• To make text smaller, press Ctrl+hyphen.

Resources

Adobe Video Workshop

The Adobe Creative Suite 3 Video Workshop offers over 200 training videos covering a wide range of subjects for print, web, and video professionals.

You can use the Adobe Video Workshop to learn about any Creative Suite 3 product. Many videos show you how to use Adobe applications together.

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When you start the Adobe Video Workshop, you choose the products you want to learn and the subjects you want to view. You can see details about each video to focus and direct your learning.

Community of presenters

With this release, Adobe Systems invited the community of its users to share their expertise and insights. Adobe and lynda.com present tutorials, tips, and tricks from leading designers and developers such as Joseph Lowery, Katrin Eismann, and Chris Georgenes. You can see and hear Adobe experts such as Lynn Grillo, Greg Rewis, and Russell Brown. In all, over 30 product experts share their knowledge.

Tutorials and source files

The Adobe Video Workshop includes training for novices and experienced users. You’ll also find videos on new features and key techniques. Each video covers a single subject and typically runs about 3-5 minutes. Most videos come with an illustrated tutorial and source files, so you can print detailed steps and try the tutorial on your own.

Using Adobe Video Workshop

You can access Adobe Video Workshop using the DVD included with your Creative Suite 3 product. It’s also available online at

www.adobe.com/go/learn_videotutorials. Adobe will regularly add new videos to the online Video

Workshop, so check in to see what’s new.

Illustrator CS3 videos

Adobe Video Workshop covers a wide range of subjects for Adobe Illustrator® CS3, including these:

• Creating and setting up a new document

• Importing content into Illustrator

• Selecting, manipulating, and aligning objects

• Using Smart Objects and Live Color

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• Saving files for the web

Videos also show you how to use Illustrator CS3 with other Adobe products:

• Using text and symbols effectively between Illustrator and Flash®

• Creating mobile content in Illustrator

• Using shared elements in Photoshop, Illustrator, InDesign®, and Flash

• Exporting animated SWF files from Illustrator

To access Adobe Creative Suite 3 video tutorials, visit Adobe Video Workshop at

www.adobe.com/go/learn_videotutorials.

Extras

You have access to a wide variety of resources that will help you make the most of your Adobe software. Some of these resources are installed on your computer during the setup process; additional helpful samples and documents are included on the installation or content DVD. Unique extras are also offered online by the Adobe Exchange community, at

Installed resources

During software installation, a number of resources are placed in your application folder. To view those files, navigate to the application folder on your computer.

www.adobe.com/go/exchange.

• Windows®: [startup drive]/Program files/Adobe/Adobe [application]

• Mac OS®: [startup drive]/Applications/Adobe [application]

The application folder may contain the following resources:

Plug-ins Plug-in modules are small software programs that extend or add features to your software. Once installed,

plug-in modules appear as options in the Import or Export menu; as file formats in the Open, Save As, and Export Original dialog boxes; or as filters in the Filter submenus. For example, a number of special effects plug-ins are automatically installed in the Plug-ins folder inside the Photoshop CS3 folder.

Presets Presets include a wide variety of useful tools, preferences, effects, and images. Product presets include

brushes, swatches, color groups, symbols, custom shapes, graphic and layer styles, patterns, textures, actions, workspaces, and more. Preset content can be found throughout the user interface. Some presets (for example, Photoshop Brush libraries) become available only when you select the corresponding tool. If you don’t want to create an effect or image from scratch, go to the preset libraries for inspiration.

Templates Template files can be opened and viewed from Adobe Bridge, opened from the Welcome Screen, or

opened directly from the File menu. Depending on the product, template files range from letterheads, newsletters,

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User Guide

and websites to DVD menus and video buttons. Each template file is professionally constructed and represents a best-use example of product features. Templates can be a valuable resource when you need to jump-start a project.

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Samples Sample files include more complicated designs and are a great way to see new features in action. These files

demonstrate the range of creative possibilities available to you.

Fonts Several OpenType® fonts and font families are included with your Creative Suite product. Fonts are copied to

your computer during installation:

• Windows: [startup drive]/Program Files/Common Files/Adobe/Fonts

• Mac OS X: [startup drive]/Library/Application Support/Adobe/Fonts

For information about installing fonts, see the Read Me file on the installation DVD.

DVD content

The installation or content DVD included with your product contains additional resources for use with your software. The Goodies folder contains product-specific files such as templates, images, presets, actions, plug-ins, and effects, along with subfolders for Fonts and Stock Photography. The Documentation folder contains a PDF version of the Help, technical information, and other documents such as specimen sheets, reference guides, and specialized feature information.

Adobe Exchange

For more free content, visit www.adobe.com/go/exchange, an online community where users download and share thousands of free actions, extensions, plug-ins, and other content for use with Adobe products.

Bridge Home

Bridge Home, a new destination in Adobe Bridge CS3, provides up-to-date information on all your Adobe Creative

3 software in one convenient location. Start Adobe Bridge, then click the Bridge Home icon at the top of the

Suite Favorites panel to access the latest tips, news, and resources for your Creative Suite tools.

Note: Bridge Home may not be available in all languages.

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Adobe Design Center

Adobe Design Center offers articles, inspiration, and instruction from industry experts, top designers and Adobe publishing partners. New content is added monthly.

You can find hundreds of tutorials for design products and learn tips and techniques through videos, HTML tutorials, and sample book chapters.

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New ideas are the heart of Think Tank, Dialog Box, and Gallery:

• Think Tank articles consider how today’s designers engage with technology and what their experiences mean for

design, design tools, and society.

• In Dialog Box, experts share new ideas in motion graphics and digital design.

• The Gallery showcases how artists communicate design in motion.

Visit Adobe Design Center at www.adobe.com/designcenter.

Adobe Developer Center

Adobe Developer Center provides samples, tutorials, articles, and community resources for developers who build rich Internet applications, websites, mobile content, and other projects using Adobe products. The Developer Center also contains resources for developers who develop plug-ins for Adobe products.

In addition to sample code and tutorials, you'll find RSS feeds, online seminars, SDKs, scripting guides, and other technical resources.

Visit Adobe Developer Center at www.adobe.com/go/developer.

Customer support

Visit the Adobe Support website, at www.adobe.com/support, to find troubleshooting information for your product and to learn about free and paid technical support options. Follow the Training link for access to Adobe Press books, a variety of training resources, Adobe software certification programs, and more.

Downloads

Visit www.adobe.com/go/downloads to find free updates, tryouts, and other useful software. In addition, the Adobe Store (at www.adobe.com/go/store) provides access to thousands of plug-ins from third-party developers, helping you to automate tasks, customize workflows, create specialized professional effects, and more.

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Adobe Labs

Adobe Labs gives you the opportunity to experience and evaluate new and emerging technologies and products from Adobe.

At Adobe Labs, you have access to resources such as these:

• Prerelease software and technologies

• Code samples and best practices to accelerate your learning

• Early versions of product and technical documentation

• Forums, wiki-based content, and other collaborative resources to help you interact with like-minded developers

Adobe Labs fosters a collaborative software development process. In this environment, customers quickly become productive with new products and technologies. Adobe Labs is also a forum for early feedback, which the Adobe development teams use to create software that meets the needs and expectations of the community.

Visit Adobe Labs at www.adobe.com/go/labs.

User communities

User communities feature forums, blogs, and other avenues for users to share technologies, tools, and information. Users can ask questions and find out how others are getting the most out of their software. User-to-user forums are available in English, French, German, and Japanese; blogs are posted in a wide range of languages.

To participate in forums or blogs, visit www.adobe.com/communities.

What’s new

Superior design features

Live Color

Explore color harmonies and dynamically apply color at once to multiple vector graphics. With Live Color, you can discover new color combinations, quickly test them, and then save and reuse them. You can preview changes to your artwork, shift an artwork’s entire tone by playing with the color wheel, or merely adjust one color with maximum precision. (See

Swatches panel

Save a color group to the Swatches panel so you can quickly refer back to a favorite set of colors. (See “Save Color Guide colors to the Swatches panel” on page 112.)

Isolation mode

Use isolation mode to protect areas of an artwork from being edited. You can group, hide, lock, and restack layers with confidence, knowing that isolated portions of your artwork will not be inadvertently changed. (See groups and sublayers” on page 194.)

“Live Color overview” on page 112.)

“Isolate

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Better integration

Integration with Adobe Flash

Create intricate vectors, storyboards, and test sequences without having to redraw them in Adobe Flash. Save production time with type, layers, and symbols that maintain their structure and editability when you copy/past them into Flash. You can move back and forth between Illustrator and Flash, harnessing the strengths of each program. (See

Symbols

“Tag text for export to Flash” on page 331 and “About Flash graphics” on page 378.)

Take advantage of the power of Illustrator with symbols that are now more practical to create, more easily to customize, and can be used in Flash with confidence. (See

Printing

“About symbols” on page 82.)

When printing, preserve native color spaces. Thanks to DeviceN support, you can be assured that your artwork will separate correctly when it is printed. (See

“Printing color separations” on page 403.)

Enhanced workplace efficiency

New document profiles

Speed startup when you open a new document by selecting a pre-built New Document Profile. These profiles are tailored for different kinds of projects—mobile, print, web, and video, for example. You can save custom profiles with startup parameters such as artboard dimensions, swatches, brushes, styles, and color spaces. (See document profiles” on page 33.)

“About new

Custom workspaces

Customize your workspace with collapsible panels and new icon views. You can save your workspace as a preset and in so doing optimize your workspace for given tasks. (See

Operating performance

“Customize the workspace” on page 18.)

Work more fluidly and efficiently without waiting for Illustrator to catch up with your hands and your thoughts. The underlying architecture of Illustrator has been improved. You’ll notice increased scroll and zoom times, snappier refresh rates, and better responsiveness.

Access libraries from panels

Easily access libraries of pre-built brushes, thematic swatches, and graphic styles. Now you can quickly apply just the effect you want by pulling down your library list with an icon located in the bottom bar of the tool panels. (See, for example,

“Brushes panel overview” on page 166.)

Advanced drawing tools and controls

Control panel

Find the tool you need for the task at hand with the Control panel, which displays the options that are most appropriate for your current selection. You can access anchor-point controls, selection tools, clipping masks, and envelope distortions from the top of the screen. Workspace clutter is reduced because you don’t have to keep as many panels open. (See

“Control panel overview” on page 17.)

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User Guide

Path editing

As soon as you select points, the Control panel displays path-editing tools You can fine-tune your work faster and even hide and show handles with one click. (See

Point selection

“Specify direction line and direction point appearance” on page 55.)

Run your cursor over any anchor point and enlarge it so you can easily see and select it. Your cursor shows a larger square anywhere it detects a point. (See

Point alignment

“Specify anchor point size preferences” on page 55.)

Align and distribute points just like you align and distribute objects. When you select more than one point, the whole range of alignment buttons appears in the Control panel. You can also align points to the artboard or a crop area.

“Align and distribute objects” on page 205.)

(See

Eraser tool

Quickly remove areas of artwork as easily as you can erase pixels in Photoshop. All you have to do is stroke the mouse or stylus over any shape or set of shapes. Illustrator creates new paths along the edges of the erased stroke; the smoothness of your erasure is preserved. (See

Crop Area tool

“Erase artwork” on page 75.)

Draw multiple crop areas with either custom or predefined characteristics. You can quickly create one-page PDFs perfectly cropped to your selection, making it possible to save artwork variations to show clients and colleagues. (See “Create, edit, and delete crop areas” on page 38.)

Chapter 2: Work area

Welcome to Adobe® Illustrator® CS3. Illustrator gives you an efficient work area and user interface to create and edit artwork for print, the web, and mobile devices.

Work area basics

Workspace overview

You create and manipulate your documents and files using various elements such as panels, bars, and windows. Any arrangement of these elements is called a workspace. When you first start an Adobe Creative Suite component, you see the default workspace, which you can customize for the tasks you perform there. For instance, you can create one workspace for editing and another for viewing, save them, and switch between them as you work.

You can restore the default workspace at any time by choosing the default option on the Window > Workspace menu.

Although default workspaces vary across Flash, Illustrator, InCopy, InDesign, and Photoshop, you manipulate the elements much the same way in all of them. The Photoshop default workspace is typical:

• The menu bar across the top organizes commands under menus.

• The Tools panel (called the Tools palette in Photoshop) contains tools for creating and editing images, artwork,

page elements, and so on. Related tools are grouped together.

• The Control panel (called the options bar in Photoshop) displays options for the currently selected tool. (Flash has

no Control panel.)

• The Document window (called the Stage in Flash) displays the file you’re working on.

• Panels (called palettes in Photoshop) help you monitor and modify your work. Examples include the Timeline in

Flash and the Layers palette in Photoshop. Certain panels are displayed by default, but you can add any panel by selecting it from the Window menu. Many panels have menus with panel-specific options. Panels can be grouped, stacked, or docked.

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A B C

Default Photoshop workspace A. Document window B. Dock of panels collapsed to icons C. Panel title bar D. Menu bar E. Options bar F. Tools palette G. Collapse To Icons button H. Three palette (panel) groups in vertical dock

For a video on understanding the workspace, see www.adobe.com/go/vid0187.

Hide or show all panels

• (Illustrator, InCopy, InDesign, Photoshop) To hide or show all panels, including the Tools panel and options bar

or Control panel, press Tab.

• (Illustrator, InCopy, InDesign, Photoshop) To hide or show all panels except the Tools panel and options bar or

Control panel, press Shift+Tab.

You can temporarily display panels hidden by these techniques by moving the pointer to the edge of the application window (Windows) or to the edge of the monitor (Mac OS) and hovering over the strip that appears.

• (Flash) To hide or show all panels, press F4.

Display panel menu options

❖ Position the pointer on the panel menu icon in the upper-right corner of the panel, and press the mouse

button.

(Illustrator) Adjust panel brightness

❖ In User Interface preferences, move the Brightness slider. This control affects all panels, including the Control

panel.

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Reconfigure the Tools panel

You can display the tools in the Tools panel in a single column, or side by side in two columns.

In InDesign, you also can switch from single-column to double-column display by setting an option in Interface preferences.

❖ Click the double arrow at the top of the Tools panel.

About screen modes

You can change the visibility of the illustration window and menu bar using the mode options at the bottom of the Tools panel:

• Maximized Screen Mode displays artwork in a maximized window with a menu bar at the top, scroll bars on

the sides, and no title bar.

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

the sides.

• Full Screen Mode with Menu Bar displays artwork in a full-screen window with a menu bar but with no title

bar or scroll bars.

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

Using the status bar

The status bar appears at the lower-left edge of the illustration window when you’re in Maximized Screen mode. It displays the current zoom level and information about one of the following topics: the current tool in use, the date and time, the number of undos and redos available, the document color profile, or the status of a managed file.

Click the status bar to do any of the following:

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

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

• Access Version Cue® commands.

Enter values in panels and dialog boxes

You enter values using the same methods in all panels and dialog boxes. You can also perform simple math in any box that accepts numeric values. For example, if you want to move a selected object 3 units to the right using the current measurement units, you don’t have to work out the new horizontal position—simply type +3 after the current value in the Transform panel.

Enter a value in a panel or dialog box

❖ Do any of the following:

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

• Drag the slider.

• Drag the dial.

• Click the arrow buttons in the panel to increase or decrease the value.

• Click in the box and then use the Up Arrow key and Down Arrow key on the keyboard to increase or decrease the

value. Hold down Shift and click an arrow key to magnify the increase rate or decrease rate.

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• Select a value from the menu associated with the box.

A B C

Ways to enter values A. Arrow buttons B. Text box C. Menu arrow D. Slider E. Dial

Calculate values in a panel or dialog box

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

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

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

2 Type a simple mathematical expression using a single mathematical operator, such as + (plus), - (minus), x (multi-

plication), / (division), or % (percent).

For example, 0p0 + 3 or 5mm + 4. Similarly, 3cm * 50% equals 3 centimeters multiplied by 50%, or 1.50 cm, and 50pt + 25% equals 50 points plus 25% of 50 points, or 62.5 points.

3 Press Enter or Return to apply the calculation.

Control panel overview

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

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

A B C

Control panel A. Hidden options B. Link to another panel C. Panel menu

When text in the Control panel is blue and underlined, you can click the text to display a related panel or dialog box. For example, click the word Stroke to display the Stroke panel.

Change the kinds of controls that appear in the Control panel

❖ Select or deselect options in the Control panel menu.

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Open and close a panel or dialog box from the Control panel

Click a blue underlined word to open its associated panel or dialog box.

2 Click anywhere outside of the panel or dialog box to close it.

Dock the Control panel at the bottom of the work area

❖ Choose Dock To Bottom from the Control panel menu.

Convert the Control panel to a floating panel

❖ Drag the gripper bar (located on the left edge of the panel) away from its current position.

To redock the Control panel, drag the gripper bar to the top or bottom of the application window (Windows) or screen (Mac

OS).

Customizing the workspace

Customize the workspace

To create a custom workspace, move and manipulate panels (called palettes in Photoshop and in Adobe Creative Suite 2 components).

A B

Narrow blue drop zone indicates Color panel will be docked on its own above Layers panel group. A. Title bar B. Tab C. Drop zone

You can save custom workspaces and switch among them.

In Photoshop, you can change the font size of the text in the options bar, palettes, and tool tips. Choose a size from the UI Font Size menu in General preferences.

Note: For a video on customizing the workspace in Illustrator, see www.adobe.com/go/vid0032. For a video on custom- izing the workspace in InDesign, see www.adobe.com/go/vid0065.

Dock and undock panels

A dock is a collection of panels or panel groups displayed together, generally in a vertical orientation. You dock and undock panels by moving them into and out of a dock.

Note: Docking is not the same as stacking. A stack is a collection of free-floating panels or panel groups, joined top to bottom.

• To dock a panel, drag it by its tab into the dock, at the top, bottom, or in between other panels.

• To dock a panel group, drag it by its title bar (the solid empty bar above the tabs) into the dock.

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User Guide

• To remove a panel or panel group, drag it out of the dock by its tab or title bar. You can drag it into another dock

or make it free-floating.

Navigator panel being dragged out to new dock, indicated by blue vertical highlight

Navigator panel now in its own dock

To prevent panels from filling all space in a dock, drag the bottom edge of the dock up so it no longer meets the edge of the workspace.

Move panels

As you move panels, you see blue highlighted drop zones, areas where you can move the panel. For example, you can move a panel up or down in a dock by dragging it to the narrow blue drop zone above or below another panel. If you drag to an area that is not a drop zone, the panel floats freely in the workspace.

• To move a panel, drag it by its tab.

• To move a panel group or a stack of free-floating panels, drag the title bar.

Press Ctrl (Windows) or Control (Mac OS) while moving a panel to prevent it from docking.

Add and remove docks and panels

If you remove all panels from a dock, the dock disappears. You can create new docks by moving panels to drop zones next to existing docks or at the edges of the workspace.

• To remove a panel, click its close icon (the X at the upper-right corner of the tab), or deselect it from the Window menu.

• To add a panel, select it from the Window menu and dock it wherever you wish.

Manipulate panel groups

• To move a panel into a group, drag the panel’s tab to the highlighted drop zone at the top of the group.

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Adding a panel to a panel group

• To rearrange panels in a group, drag a panel’s tab to a new location in the group.

• To remove a panel from a group so that it floats freely, drag the panel by its tab outside the group.

• To make a panel appear at the front of its group, click its tab.

• To move grouped panels together, drag their title bar (above the tabs).

Stack free-floating panels

When you drag a panel out of its dock but not into a drop zone, the panel floats freely, allowing you to position it anywhere in the workspace. Panels may also float in the workspace when first selected from the Window menu. You can stack free-floating panels or panel groups together so that they move as a unit when you drag the topmost title bar. (Panels that are part of a dock cannot be stacked or moved as a unit in this way.)

Free-floating stacked panels

• To stack free-floating panels, drag a panel by its tab to the drop zone at the bottom of another panel.

• To change the stacking order, drag a panel up or down by its tab.

Note: Be sure to release the tab over the narrow drop zone between panels, rather than the broad drop zone in a title bar.

• To remove a panel or panel group from the stack, so that it floats by itself, drag it out by its tab or title bar.

Resize or minimize panels

• To resize a panel, drag any side of the panel or drag the size box at its lower-right corner. Some panels, such as the

Color panel in Photoshop, cannot be resized by dragging.

• To change the width of all the panels in a dock, drag the gripper at the top left of the dock.

• To minimize a panel, panel group, or stack of panels, click the Minimize button in its title bar.

You can open a panel menu even when the panel is minimized.

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Minimize button

Manipulate panels collapsed to icons

Collapse panels to icons to reduce clutter on the workspace. (In some cases, panels are collapsed to icons in the default workspace.) Click a panel icon to expand the panel. You can expand only one panel or panel group at a time.

Panels collapsed to icons

Panels expanded from icons

• To collapse or expand all panels in a dock, click the double arrow at the top of the dock.

• To resize panel icons so that you see only the icons (and not the labels), drag the gripper at the top of the dock

toward the icons until the text disappears. (To display the icon text again, drag the gripper away from the panels.)

• To expand a single panel icon, click it.

• To collapse an expanded panel back to its icon, click its tab, its icon, or the double arrow in the panel’s title bar.

If you select Auto-Collapse Icon Panels from the Interface or User Interface Options preferences, an expanded panel icon will collapse automatically when you click away from it.

• To add a panel or panel group to an icon dock, drag it in by its tab or title bar. (Panels are automatically collapsed

to icons when added to an icon dock.)

• To move a panel icon (or panel icon group), drag the bar that appears above the icon. You can drag panel icons up

and down in the dock, into other docks (where they appear in the panel style of that dock), or outside the dock (where they appear as free-floating, expanded panels).

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Rename or duplicate a workspace

1 Choose Window > Workspace > Manage Workspaces.

2 Do any of the following, and then click OK:

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

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

For a video on customizing the work area based on different workflows, see www.adobe.com/go/vid0032.

Save, delete, and switch between workspaces

By saving the current size and position of panels as a named workspace, you can restore that workspace even if you move or close a panel. The names of saved workspaces appear in the Window

In Photoshop, the saved workspace can include a specific keyboard shortcut set and menu set.

Save a custom workspace

With the workspace in the configuration you want to save, do one of the following:

• (Photoshop, Illustrator, InDesign) Choose Window > Workspace > Save Workspace.

• (Flash) Choose Window > Workspace > Save Current, or choose Save Current from the Workspace menu in the

Edit bar.

• (Photoshop) Choose Save Workspace from the Workspace menu in the options bar.

2 Type a name for the workspace.

3 (Photoshop) Under Capture, select one or more options:

Palette Locations Saves the current palette locations.

> Workspace menu.

Keyboard Shortcuts Saves the current set of keyboard shortcuts.

Menus Saves the current set of menus.

4 Click OK.

Display or switch between workspaces

Flash, Illustrator, InDesign, and Photoshop include preset workspaces designed to make certain tasks easier.

• Choose Window > Workspace, and select a workspace.

• (Photoshop) Select a workspace from the Workspace menu in the options bar.

• (Flash) Select a workspace from the Workspace menu in the Edit bar.

(InDesign and Photoshop) Assign keyboard shortcuts to each workspace to navigate among them quickly.

Delete a custom workspace

• (Illustrator) Choose Window > Workspace > Manage Workspaces, select the workspace, and then click the Delete icon.

• (InDesign) Choose Window > Workspace > Delete Workspace, select the workspace, and then click Delete.

• (Flash) Choose Manage from the Workspace menu in the Edit bar, select the workspace, and then click Delete.

Alternatively, choose Window > Workspace > Manage, select the workspace, and then click Delete.

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User Guide

• (Photoshop) Choose Delete Workspace from the Workspace menu in the options bar. Alternatively, choose

Window > Workspace > Delete Workspace, select the workspace, and then click Delete.

(Photoshop) Start with the last or default palette locations

When you start Photoshop, palettes can either appear in their original default locations, or appear as you last used them.

❖ In Interface preferences:

• To display palettes in their last locations on startup, select Remember Palette Locations.

• To display palettes in their default locations on startup, deselect Remember Palette Locations.

Tools

Tools panel overview

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

> Tools.

Window

You use tools in the Tools panel to create, select, and manipulate objects in Illustrator. Some tools have options that appear when you double-click a tool. These include tools that let you use type, and select, paint, draw, sample, edit, and move images.

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User Guide

You can expand some tools to show hidden tools beneath them. A small triangle at the lower-right corner of the tool icon signals the presence of hidden tools. To see the name of a tool, position the pointer over it.

Tools panel overview

Selection tools

Selection (V)

Direct Selection (A)

Group Selection

Magic Wand ( Y)

Lasso (Q)

Drawing tools

Pen (P)

Add Anchor Point (+) Delete Anchor (-)

Point Convert Anchor

Point

Line Segment (\)

Arc Spiral Rectangular Grid Polar Grid

Rectangle (M)

Rounded Rectangle Ellipse (L) Polygon Star Flare

Pencil (N)

Smooth Path Eraser

Indicates default tool * Keyboard shortcuts appear in parenthesis

Type tools

Type (T)

Area Type Type On a Path

Vertical Type Vertical Area

Type Vertical Type

On a Path

Painting tools

Paintbrush (B)

Mesh (U)

Gradient (G)

Eyedropper (I)

Measure

Live Paint Bucket (K)

Live Paint Selection (Shift+L)

Reshaping tools

Rotate (R)

Reect (O)

Scale (S)

Shear Reshape

Warp (Shift-R)

Twirl Pucker Bloat Scallop Crystallize Wrinkle

Free Transform (E)

Blend (W)

Symbol tools

Symbol Sprayer (Shift +S)

Symbol Shifter Symbol Scruncher Symbol Sizer Symbol Spinner Symbol Stainer Symbol Screener Symbol Styler

Graph tools

Column Graph (J)

Stacked Column Graph

Bar Graph Stacked Bar

Graph Line Graph Area Graph Scatter Graph Pie Graph Radar Graph

Slicing and cutting tools

Crop Area (Shift +O)

Slice (Shift+K) Slice Select

Eraser (Shift +E)

Scissors (C) Knife

Moving and zooming tools

Hand (H)

Page

Zoom (Z)

View hidden tools

❖ Hold down the mouse button on the visible tool.

View tool options

❖ Double-click a tool.

Move the Tools panel

❖ Drag its title bar or the Illustrator icon.

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Hide the Tools panel

❖ Choose Window > Tools.

Tear off hidden tools into a separate panel

❖ Drag the pointer over the arrow at the end of the Tools panel and release the mouse button.

Close a separate tool panel

❖ Click the close button on the panel’s title bar. The tools return to the Tools panel.

Select a tool

❖ Do one of the following:

• Click a tool in the Tools panel. If there is a small triangle at a tool’s lower-right corner, hold down the mouse button

to view the hidden tools, and then click the tool you want to select.

• Hold down Alt (Windows) or Option (Mac OS), and then click a tool to cycle through and select hidden tools.

• Press the tool’s keyboard shortcut. The keyboard shortcut is displayed in its tool tip. For example, you can select

the Move tool by pressing the V key.

To hid e t ool t i p s , ch o o se E dit > Preferences > General (Windows) or Illustrator > Preferences > General (Mac OS), and deselect Show Tool Tips.

A B

Selecting a hidden tool A. Tools panel B. Active tool C. Tear off panel with hidden tools D. Hidden tool triangle E. Tool name and shortcut

Change tool pointers

The mouse pointer for most tools matches the tool’s icon. Each pointer has a different hotspot, where an effect or action begins. With most tools, you can switch to precise cursors, which appear as cross hairs centered around the hotspot, and provide for greater accuracy when working with detailed artwork.

❖ Choose Edit > Preferences > General (Windows) or Illustrator > Preferences > General (Mac OS), and select Use

Precise Cursors. Alternatively, press Caps Lock on the keyboard.

Selection tool gallery

Illustrator provides the following selection tools:

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The Selection tool (V) selects entire objects.

The Lasso tool (Q) selects points or path segments within objects.

The Direct Selection tool (A) selects points or path segments within objects.

See also

“Keys for selecting” on page 464

Drawing tool gallery

Illustrator provides the following drawing tools:

The Group Selection tool selects objects and groups within groups.

The Magic Wand tool (Y) selects objects with similar attributes.

The Pen tool (P) draws straight and curved lines to create objects.

The Add Anchor Point tool (+) adds anchor points to paths.

The Delete Anchor Point tool (-) deletes anchor points from paths.

The Convert Anchor Point tool (Shift+C) changes smooth points to corner points and vice versa.

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The Line Segment tool (\) draws individual straight line segments.

The Polar Grid tool draws circular chart grids.

The Arc tool draws individual concave or convex curve segments.

The Rectangle tool (M) draws squares and rectangles.

The Spiral tool draws clockwise and counterclockwise spirals.

The Rounded Rectangle tool draws squares and rectangles with rounded corners.

The Rectangular Grid tool draws rectangular grids.

The Ellipse tool (L) draws circles and ovals.

The Polygon tool draws regular, multi-sided shapes.

The Smooth tool smooths Bezier paths.

The Star tool draws stars. The Flare tool creates lens-

flare or solar-flare-like effects.

The Path Eraser tool erases paths and anchor points from the object.

The Pencil tool (N) draws and edits freehand lines.

Type tool gallery

Illustrator provides the following type tools:

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The Type tool (T) creates individual type and type containers and lets you enter and edit type.

The Vertical Area Type tool changes closed paths to vertical type containers and lets you enter and edit type within them.

The Area Type tool changes closed paths to type containers and lets you enter and edit type within them.

The Vertical Type On A Path tool changes paths to vertical type paths and lets you enter and edit type on them

Painting tool gallery

Illustrator provides the following painting tools:

The Type On A Path tool changes paths to type paths, and lets you enter and edit type on them.

The Ver tical Type tool creates vertical type and vertical type containers and lets you enter and edit vertical type.

The Paintbrush tool (B) draws freehand and calligraphic lines, as well as art and patterns on paths.

The Mesh tool (U) creates and edits meshes and mesh envelopes.

The Gradient tool (G) adjusts the beginning and ending points and angle of gradients within objects.

The Eyedropper tool (I) samples and applies color, type, and appearance attributes, including effects, from objects.

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The Live Paint Bucket tool (K) paints faces and edges of Live Paint groups with the current paint attributes.

The Live Paint Selection tool selects faces and edges within Live Paint groups.

The Measure tool measures the distance between two points.

Reshaping tool gallery

Illustrator provides the following tools for reshaping objects:

The Rotate tool (R) rotates objects around a fixed point.

The Reflect tool (O) flips objects over a fixed axis.

The Scale tool (S) resizes objects around a fixed point.

The Shear tool skews objects around a fixed point.

The Reshape tool adjusts selected anchor points while keeping the overall detail of the path intact.

The Free Transform tool (E) scales, rotates, or skews a selection.

The Blend tool (W) creates a series of objects blended between the color and shape of multiple objects.

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The Warp tool (Shift+R) molds objects with the movement of the cursor (like molding clay, for example).

The Scallop tool adds random curved details to the outline of an object.

The Twirl tool creates swirling distor tions within an object.

The Crystallize tool adds random spiked details to the outline of an object.

The Pucker tool deflates an object by moving control points towards the cursor.

The Wrinkle tool adds wrinkle-like details to the outline of an object.

The Bloat tool inflates an object by moving control points away from the cursor.

Symbolism tool gallery

The symbolism tools let you create and modify sets of symbol instances. You create a symbol set using the Symbol Sprayer tool. You can then use the other symbolism tools to change the density, color, location, size, rotation, trans parency, and style of the instances in the set.

The Symbol Sprayer tool (Shift+S) places multiple symbol instances as a set on the artboard.

The Symbol Shifter tool moves symbol instances

The Symbol Scruncher tool moves symbol instances closer together or farther apart.

The Symbol Sizer tool resizes symbol instances.

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The Symbol Spinner tool rotates symbol instances.

The Symbol Stainer tool colorizes symbol instances.

The Symbol Screener tool applies opacity to symbol instances.

The Symbol Styler tool applies the selected style to symbol instances.

Graph tool gallery

Illustrator provides nine graph tools, each one for creating a different type of graph. The type of graph you choose depends on the information you want to communicate.

B A

The Column Graph tool (J) creates graphs that compare values using vertical columns.

100

B A

The Stacked Column graph tool creates graphs that are similar to column graphs, but stacks the columns on top of one another, instead of side by side. This graph type is useful for showing the relationship of parts to the total.

0 10 20 30 40 50 60 70 80

The Bar Graph tool creates graphs that are similar to column graphs, but positions the bars horizontally instead of vertically.

0 20 40 60 80 100

The Stacked Bar Graph tool creates graphs that are similar to stacked column graphs, but stacks the bars horizontally instead of vertically.

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50 40 30 20 10

The Line Graph tool creates graphs that use points to represent one or more sets of values, with a different line joining the points in each set. This type of graph is often used to show the trend of one or more subjects over a period of time.

50 40 30 20 10

100

The Area Graph tool creates graphs that are similar to line graphs, but emphasizes totals as well as changes in values.

10 20 30 40 50

The Scatter Graph tool creates graphs that plot data points as paired sets of coordinates along the x and y axes. Scatter graphs are useful for identifying patterns or trends in data. They also can indicate whether variables affect one another.

D C B A

The Pie Graph tool creates circular graphs whos e wedges represent the relative percentages of the values compared.

The Radar Graph tool creates graphs that compare sets of values at given points in time or in particular categories, and is displayed in a circular format. This type of graph is also called a web graph.

Slicing and cutting tool gallery

Illustrator provides the following tools for slicing and cutting objects:

The Crop Area tool selects specified areas for printing or export.

The Slice tool div ides ar twork into separate web images.

The Slice Selection tool selects web slices.

The Eraser tool erases any area of the object over which you drag

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The Scissors tool (C) cuts paths at specified points.

The Knife tool cuts objects and paths.

Moving and zooming tool gallery

Illustrator provides the following tools for moving around in and controlling the view of the artboard:

The Hand tool (H) moves the Illustrator artboard within the illustration window.

The Page tool adjusts the page grid to control where artwork appears on the printed page.

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

Files and templates

About new document profiles

A document is the space in which you create artwork. In Illustrator, you can create documents destined for many different types of output. (For information on creating Illustrator documents for video production, see the Enhancing Video Production PDF at

You start a new document by choosing a new document profile based on your intended output. Each profile includes preset values for size, color mode, units, orientation, transparency, and resolution. For example, the Video And Film Document profile uses pixels instead of points, and you can choose a device-specific crop area, such as NTSC DV Widescreen, to create a document in the exact dimensions required, with video-safe guides in place to help you lay out your design for optimal viewing.

If you plan to output your file to a high-end printer, for example if you’re sending it to a service bureau, specify the Print profile to ensure your artwork and any effects applied to the artwork are set to the proper resolution.

www.adobe.com/go/learn_ai_video.

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You can choose from the following profiles:

Print Document Uses a default letter size artboard, and provides a variety of other preset print sizes to choose from.

Use this profile if you plan to send this file to a service bureau for output to a high-end printer.

Web Document Provides preset options optimized for output to the web.

Mobile And Devices Document Creates a small file size that is preset for a specific mobile device. You can choose

your device from the Size menu. Click Device Central to open Adobe Device Central and view the document layout in a specified device interface.

Video And Film Document Provides several preset video- and film-specific crop area sizes (note that the Artboard

option changes to Crop Size for this profile). Illustrator creates only square pixel files, so to ensure that the sizes are interpreted correctly in video applications, Illustrator adjusts the Width and Height values. For example, if you choose NTSC DV Standard, Illustrator uses a pixel size of 648 x 480, which translates to 740 x 480 pixels in videobased applications.

Basic CMYK Document Uses a default letter size artboard, and provides a variety of other sizes to choose from. Use

this profile if you plan to send a document to multiple types of media. If one of the media types is a service bureau, you’ll want to manually increase the Raster Effects setting to High.

Basic RGB Document Uses a default 800 x 600 size artboard, and provides a variety of other print-, video-, and web-

specific sizes to choose from. Do not use this option if you plan to send a document to a service bureau or output to a high-end printer. Use this profile for documents that will be output to mid-level printers, to the web, or multiple types of media.

For a video on setting up new documents, see www.adobe.com/go/vid0031.

Create new documents

You can create new Illustrator documents from a new document profile or from a template. Creating a document from a new document profile gives you a blank document with the selected profile’s default fill and stroke colors, graphic styles, brushes, symbols, actions, viewing preferences, and other settings. Creating a document from a template gives you a document with preset design elements and settings, as well as content, such as cropmarks and guides, for specific document types, such as brochures or CD covers.

You create a new document from the Welcome screen, or by using File > New or File > Device Central (for mobile device output). The Welcome screen appears whenever a document is not currently open.

For a video on setting up new documents, see www.adobe.com/go/vid0031.

See also

“About new document profiles” on page 33

“About templates” on page 36

“About transparency” on page 173

Create a new document using the Welcome screen

Open Illustrator, or if Illustrator is already open, choose Help > Welcome Screen.

2 Do any of the following:

• Select a new document profile from the Create New list. The New Document dialog box opens with all options

set to the optimized values for the selected new document profile. You can change any of the preset values as desired and click OK to open the new document.

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Note: Alt-click (Windows) or Option-click (Mac OS) to open the new document directly and skip the New Document dialog box.

• Select From Template in the Create New list. Select a template and click OK.

Create a custom document

You can customize any document by changing the settings in the New Document dialog box. However, it’s always best to start with the new document profile that represents your intended output.

If you want to use the preset options from another Illustrator file or template, choose Browse from the New Document Profile menu and open the file you want to use.

1 Do one of the following:

• Choose File > New. In the New Document dialog box, type a name for your document, and choose a new

document profile.

• In the Welcome Screen, choose a new document profile from the Create New list. In the New Document dialog

box, type a name for your document.

2 Specify options as desired to customize the document. Click Advanced to specify the following additional options:

Color Mode Specifies the color mode for the new document. Changing the color mode converts the default contents

(swatches, brushes, symbols, graphic styles) of the selected new document profile to a new color mode, resulting in a color change. Watch for a warning icon when making changes.

Raster Effects Specifies the resolution for raster effects in the document. It is especially important to set this at High

when you plan to output to a high-end printer at high resolution. The Print profile sets this at High by default.

Transparency Grid Specifies the options for the transparency grid for documents that use the Video and Film profile.

Preview Mode Sets the default preview mode for the document (you can change this at any time by using the View

menu):

• Default displays artwork created in the document in vector view with full color. Zoom in/out retains smoothness

in the curves.

• Pixel displays artwork with a rasterized (pixilated) appearance. It does not actually rasterize the content, but

displays a simulated preview, as if the contents were rasters.

• Overprint provides an “ink preview” that approximates how blending, transparency, and overprinting will appear

in color-separated output. (See “About overprinting” on page 424.)

3 (Optional) If you choose the Mobile profile, you can preview your new document in the mobile device interface

by clicking Device Central.

Note: You can change these settings after you create the document by choosing File > Document Setup and specifying new settings.

Create a new document from a template

❖ Do one of the following:

• Choose File > New From Template, select a template, and click New.

• Choose File > New. In the New Document dialog box, click Templates, select a template, and click New.

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About templates

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

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

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

See also

“Create new documents” on page 34

Create a new template

1 Open a new or existing document.

2 Customize the document in any of the following ways:

• Set up the document window as you want it to appear in new documents you create from the template. This

includes the magnification level, scroll position, ruler origin, guides, grids, crop areas, and options in the View menu.

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

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

• Create any new swatches, styles, brushes, and symbols, you want in the corresponding panels. You can also import

preset swatches, styles, brushes, symbols, and actions from a variety of libraries that come with Illustrator.

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

graph designs.

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

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.

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

Open a file

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

• To open an existing file, choose File > Open. Locate the file, and click Open.

• To open a recently saved file, choose the file from the Open A Recent Item list in the Welcome screen, or choose

File > Open Recent Files, and choose a file from the list.

• To open and preview a file using Adobe Bridge, choose File > Browse to open Adobe Bridge. Locate the file and

choose File > Open With > Adobe Illustrator CS3.

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See also

“Importing Adobe PDF files” on page 259

“Importing EPS files” on page 260

“Importing artwork from Photoshop” on page 262

Browse for files using Adobe Bridge

Adobe® Bridge is a cross-platform application included with Adobe® Creative Suite® 3 components that helps you locate, organize, and browse the assets you need to create print, web, video, and audio content. You can start Bridge from any Creative Suite component (except Adobe® Acrobat® 8), and use it to access both Adobe and non-Adobe asset types.

❖ To open Adobe Bridge, do one of the following from within Illustrator:

• Choose File > Browse.

• Click the Adobe Bridge icon in the Control panel.

• Choose Reveal In Bridge from the status bar.

From Adobe Bridge, you can do any of the following:

• Manage image, footage, and audio files: Preview, search, sort, and process files in Bridge without opening

individual applications. You can also edit metadata for files, and use Bridge to place files into your documents, projects, or compositions.

• Manage your photos: Import and edit photos from your digital camera card, group related photos in stacks, and

open or import Photoshop® Camera Raw files and edit their settings without starting Photoshop. You can also search leading stock libraries and download royalty-free images by way of Adobe Stock Photos.

• Work with Adobe Version Cue®-managed assets.

• Perform automated tasks, such as batch commands.

• Synchronize color settings across color-managed Creative Suite components.

• Start a real-time web conference to share your desktop and review documents.

Adobe Version Cue

Adobe® Version Cue® is a file-version manager included with Adobe Creative Suite 3 Design, Web, and Master Collection editions that consists of two pieces: the Version

Cue Server hosts Version Cue projects and PDF reviews, and can be installed locally or on a centralized

Ve rs i o n computer. Version

Cue-enabled components (Adobe Acrobat®, Adobe Flash®, Adobe Illustrator®, Adobe InDesign®, Adobe

Ve rs i o n InCopy®, Adobe Photoshop®, and Adobe Bridge).

Use Version Cue to track changes to a file as you work on it, and to enable workgroup collaboration such as file sharing, version control, and online reviews. You can use Version component, such as Photoshop, or across multiple components, such as Photoshop, Flash, and Illustrator.

You access Version Cue features by way of the Adobe dialog box or through Adobe Bridge, depending on whether you are using Version example, Adobe Creative Suite 3 Design Premium).

Cue connectivity enables you to connect to Version Cue Servers, and is included with all

Cue-enabled software and whether or not you have installed a Creative Suite software set (for

Cue Server and Version Cue connectivity. The

Cue in a single Version Cue-enabled Creative Suite

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Ve rs i o n Cue handles the following tasks:

• Creating versions of your files

• Enabling workgroup collaboration (file sharing, version control, the ability to check files in and out)

• Organizing files into private or shared projects

• Providing thumbnails so you can browse and view files

• Organizing data so you can view and search on file information, version comments, and file status

• Creating and managing user access, projects, and PDF reviews by way of Version Cue Server Administration

Cropping artwork

Create, edit, and delete crop areas

The crop area sets the position of the printer’s marks on your document and defines the exportable boundaries of the artwork. By default, Illustrator crops artwork to the boundaries of the artboard, which you specify when you select a document profile in the New Document dialog box. However, you can choose to crop your artwork to a preset crop area or to a custom crop area that you define.

You can create multiple crop areas for your document, but only one crop area can be active at a time. When you have multiple crop areas defined, you can view them all by selecting the Crop tool and pressing Alt. Each crop area is numbered for easy reference. You can edit or delete a crop area at any time, and you can specify different crop areas each time you print or export.

Crop area boundaries are represented by a dashed line surrounding the artwork—areas outside of the crop area appear dimmed while the Crop Area tool is active. You can also choose to display a center mark, cross hairs, video safe and screen edge markers, and rulers around the crop area.

To see a video on using the Crop Area tool, see www.adobe.com/go/vid0213.

Define a single crop area

Do one of the following:

• To define a custom crop area using the Crop Area tool, select the Crop Area tool and drag in the work area to

define the crop area.

• To use a preset crop area, double-click the Crop Area tool, select a preset for the crop area size in the Crop Area

Options dialog box, and click OK. Drag the crop area to position it where you want.

If you want the artwork to contain a bleed, make sure that there’s enough artwork beyond the crop area rectangle to accommodate the bleed.

2 To commit the crop area and exit the crop-editing mode, click a different tool in the Tools panel.

Define and view additional crop areas

❖ Select the Crop Area tool, and then do any of the following:

• To create a new crop area, hold down Alt and drag. Each crop area has a unique number in the upper-left corner.

• To view all crop areas, press Alt.

• To set a crop area as the active crop area, hold down Alt and click the crop area you want active.

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• To rotate between crop areas, press Alt and click an arrow key.

Delete a crop area

❖ Select the Crop Area tool, and do one of the following:

• To delete the active crop area, click Delete in the Control panel.

• To delete one of multiple crop areas, hold down Alt to view all existing crop areas, and click the Delete icon in

the upper-right corner of the crop area you want to delete.

• To delete all crop areas, click Delete All in the Control panel or press Alt+Delete.

Edit or move a crop area

❖ Select the Crop Area tool, and do one of the following:

• To edit the crop area, position the pointer on an edge or corner of the crop area, and, when the cursor changes to

a double-sided arrow, drag to adjust. Or, specify new Width and Height values in the Control panel.

• To move the crop area, position the pointer in the middle of the crop area and when the cursor changes to a four-

sided arrow drag it. Or you can select it and press an arrow key (press Shift+arrow key to move in 10 point increments), or specify new X and Y values in the Control panel.

Use crop area rulers

You can display rulers by selecting Show Crop Area Rulers in the Crop Area Options dialog box, which you open by double-clicking the Crop Area tool. Rulers are useful when you’re working with art intended for export to video. The numbers on the rulers reflect device-specific pixels, regardless of the measurement unit specified in preferences. The default Pixel Aspect Ratio (PAR) for Illustrator is 1.0 (for square pixels)—this value changes according to the crop area preset you choose either in the Crop Area Options dialog box or the New Document dialog box.

If you’re using nonsquare pixels, the ruler provides for easier device-specific pixel calculations. For example, if you specify a crop area of 100 x100 Illustrator points, and you want to know the exact size in device-dependent pixels before exporting the file for use in a NTSC DV Widescreen, you can set the crop area ruler in Illustrator to use a pixel aspect ratio of 1.2 (for wide pixels) and the ruler will reflect the change and display the crop area as 83 x100 device pixels (100/1.2 = 83.333).

Crop area with rulers

1 Double-click the Crop Area tool in the Tools panel.

2 Select Show Crop Area Rulers and set a value for Ruler Pixel Aspect Ratio.

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Crop area options

You open the Crop Area Options dialog box by double-clicking the Crop Area tool. You can also specify many of these options in the Control panel when the Crop Area tool is active.

Preset Specifies crop area dimensions. These presets set the ruler Pixel Aspect Ratio appropriately for the specified

output.

Width and Height Specifies the size of the crop area.

Constrain Proportions Keeps the aspect ratio of the crop area intact if you manually resize the crop area.

X: and Y: Position Specifies the position of the crop area according to Illustrator’s work area rulers. To view these

rulers, choose View > Show Rulers.

Show Center Mark Displays a point in the center of the crop area.

Show Cross Hairs Displays cross lines through the center of each side of the crop area.

Show Video Safe Areas Displays guides that represent the areas that fall inside the viewable area of video. You want

to keep all text and art that must be viewable to users inside the video safe areas.

Show Screen Edge Displays guides that represent the edge of the video screen.

Show Crop Area Rulers

Displays rulers around the crop area. The zero point of these rulers is in the upper-left corner,

as with video rulers. The dimensions reflected are determined by the value in the Ruler Pixel Aspect Ratio box.

Ruler Pixel Aspect Ratio Specifies the pixel aspect ratio used for the rulers.

Fade Region Outside Crop Area Displays the area outside of the crop area a darker shade than the area inside the

crop area when the Crop tool is active.

Update While Dragging Keeps the area outside of the crop area darker as you drag to resize the crop area. If this is

not selected, the outside area displays in the same color as inside the crop area while resizing.

Crop Areas Indicates how many crop areas exist.

Specify how to crop artwork for printing

1 Choose File > Print.

2 Select Setup on the left side of the Print dialog box.

3 For Crop Artwork To, specify whether to crop the artwork to the artboard, to the bounding box of all artwork in

the document, or to the defined crop area.

If you want to crop artwork to the crop area, you must first define the crop area.

Specify crop marks for trimming or aligning

In addition to specifying how to crop artwork for output, you can also create and use multiple sets of crop marks within your artwork. Crop marks indicate where you want the printed paper to be cut. Crop marks are useful when you want to create marks around several objects on a page—for example, when printing a sheet of business cards. They are also helpful for aligning Illustrator artwork that you’ve exported to another application.

Crop marks differ from the crop area in the following ways:

• Crop areas specify the printable boundaries of artwork, whereas crop marks don’t affect the printed area at all.

• You can activate only one crop area at a time, whereas you can create and display multiple crop marks.

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• The crop area is indicated by visible but non-printing marks, whereas crop marks are printed with registration

black (so that they print to every separation plate, similar to printer’s marks).

Note: Crop marks do not replace trim marks created with the Marks & Bleed options in the Print dialog box or with the Object > Crop Area > Make command.

Create crop marks around an object

Select the object or objects.

2 Choose Filter > Create > Crop Marks.

Delete crop marks

❖ Select the crop mark and press Delete.

Use Japanese-style crop marks

Japanese-style crop marks have double lines, which visually define a default bleed value of 8.5 points (3 millimeters).

1 Choose Edit > Preferences > General (Windows) or Illustrator > Preferences > General (Mac OS).

2 Select Use Japanese Crop Marks, and then click OK.

Viewing artwork

Artboard overview

The artboard represents the entire region that can contain printable artwork. However, the artboard’s dimensions do not necessarily match the current page size. For example, your artboard may be 10 x 20 inches while your print settings specify 8-1/2 x 11 inch paper, or 864 x 480 pixels. You can view the page boundaries in relation to the artboard by showing page tiling (View 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.

> Show Page Tiling). When page tiling is on, the printable and nonprintable

Illustration window A. Printable area B. Nonprintable area C. Edge of the page D. Artboard

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

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

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

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

> Hide Artboard.

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

See also

“Change the page size and orientation” on page 407

“Reposition artwork on the page” on page 406

“Print artwork on multiple pages” on page 406

Change the size and color of the artboard

1 Choose File > Document Setup.

2 From the menu at the upper-left of the Document Setup window, do either of the following:

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

• To change the color of the artboard, choose Transparency. Select Simulate Colored Paper, click the top color

swatch, and select a new color using the Color dialog box.

Changing the color of the artboard lets you view your document as it might appear when printed on colored paper. For example, if you draw a blue object on a yellow background, the object appears green. The simulation is only

performed when the transparency grid is not shown.

About page tiling

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

Dividing the artboard to fit a printer’s available page sizes is called tiling. You can choose a tiling option in the Setup section of the Print dialog box. To view the page tiling boundaries on the artboard, choose View

> Show Page Tiling.

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Artboard divided into multiple page tiles

When you divide the artboard into multiple page tiles, the pages are numbered from left to right and from top to bottom, starting with page 1. These page numbers appear on-screen for your reference only; they do not print. The numbers enable you to print all of the pages in the file or specify particular pages to print.

See also

“Change the page size and orientation” on page 407

“Print artwork on multiple pages” on page 406

Zoom in or out

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

• Select the Zoom tool . The pointer becomes a magnifying glass with a plus sign in its center. Click in the center

of the area that you want to magnify, or hold down Alt (Windows) or Option (Mac OS) and click in the center of the area that you want to reduce. Each click magnifies or reduces the view to the previous preset percentage.

• Select the Zoom tool and drag a dotted rectangle, called a marquee, around the area you want to magnify. To move

the marquee around the artwork, hold down the spacebar, and continue dragging to move the marquee to a new location.

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

percentage.

• Set the zoom level at the lower-left corner of the main window or in the Navigator panel.

• To display a file 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.

See also

“Moving and zooming tool gallery” on page 33

“Keys for viewing artwork” on page 462

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Move the view area

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

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

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

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

To specify the quality of the display when using the Hand tool, choose Edit > Preferences > Units & Display Perfor-

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

See also

“Moving and zooming tool gallery” on page 33

“Keys for viewing artwork” on page 462

Navigator panel overview

You use the Navigator panel (Window > Navigator) to quickly change the view of your artwork using a thumbnail display. The colored box in the Navigator (called the proxy view area) corresponds to the currently viewable area in the illustration window.

CDE FG

Navigator panel A. Thumbnail display of artwork B. panel menu button C. Zoom box D. Zoom Out button E. Proxy preview area F. Zoom slider G. Zoom In button

You can customize the Navigator panel in the following ways:

• To display artwork outside the boundaries of the artboard in the Navigator panel, click View Artboard/Crop Area

Only from the panel menu to deselect it.

• To change the color of the proxy view area, select panel Options from the panel menu. Select a preset color from

the Color menu, or double-click the color box to choose a custom color.

• To display dashed lines in the document as solid lines in the Navigator panel, select panel Options from the panel

menu and select Draw Dashed Lines As Solid Lines.

• To specify the size at which text is replaced by a gray bar in the Navigator panel, select panel Options from the

panel menu and enter a font size in the Greeking box.

See also

“Customize the workspace” on page 18

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View artwork as outlines

By default, Adobe Illustrator sets the view so that all artwork is previewed in color. However, you can choose to display artwork so that only its outlines (or paths) are visible. Viewing artwork without paint attributes speeds up the time it takes to redraw the screen when working with complex artwork.

In Outline mode, linked files are displayed by default as outlined boxes with an X inside. To view the contents of linked files, choose File Outline.

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

in color.

• To view all artwork in a layer as outlines, Ctrl-click (Windows) or Command-click (Mac OS) the eye icon for the

layer in the Layers panel. Ctrl-click (Windows) or Command-click (Mac OS) again to return to previewing artwork in color. The eye icon has a hollow center when Outline view is enabled and a filled center when Preview view is enabled.

• To view all items in unselected layers as outlines, Alt+Ctrl-click (Windows) or Option+Command-click (Mac OS)

the eye icon for the selected layer. Alternatively, select Outline Others from the Layers panel menu.

You can return all items in the Layers panel to Preview mode by choosing Preview All Layers from the Layers panel

menu.

> Document Setup, choose Artboard at the top of the dialog box, and select Show Images In

See also

“Layers panel overview” on page 211

Use multiple windows and views

You can open multiple windows of a single document at the same time. Each window can have different view settings. For another window less magnified for laying out those objects on the page.

windows edge to edge; Arrange Icons organizes minimized windows within the program window.

An alternative to creating multiple windows is creating multiple views. You can create and store up to 25 views for each document.

Multiple windows and multiple views differ in the following ways:

• Multiple views are saved with the document, multiple windows are not.

• Multiple windows can be viewed at the same time.

• Multiple views can only appear at the same time if multiple windows are opened to display them in. Changing a

view alters the current windows, it does not open a new one.

Create a new window

❖ Choose Window > New Window.

example, you can set one window highly magnified for doing close-up work on some objects and create

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

Cascade displays windows stacked and descending from the upper-left to the lower-right of the screen; Tile displays

Create a new view

❖ Set up the view as you want, and then choose View > New View, enter a name for the new view, and click OK.

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Rename or delete a view

❖ Choose View > Edit Views.

Switch between views

❖ Select a view name from the bottom of the View menu.

Previewing artwork in its final output medium

Illustrator provides the following ways to preview how aspects of artwork will look when printed or viewed on the web or a mobile device:

Overprint Preview mode (View > Overprint Preview) Provides an “ink preview” that approximates how blending,

transparency, and overprinting will appear in color-separated output.

Pixel Preview mode (View > Pixel Preview) Approximates how your artwork will appear when it is rasterized and

viewed in a web browser.

Flattener Preview panel (Window > Flattener Preview) Highlights areas of the artwork that meet certain criteria for

flattening when saved or printed.

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

Anti-aliasing Gives vector objects a smoother on-screen appearance and provides a better idea of how vector

artwork will look when printed on a PostScript® printer. Anti-aliasing is helpful because screen resolution is relatively limited, but vector artwork is often printed at a high resolution. To turn on anti-aliasing, choose Edit > Preferences > General (Windows) or Illustrator > Preferences > General (Mac OS), select Anti-aliased Artwork, and click OK.

Device Central (File > Device Central) Lets you preview how your document will appear on a particular mobile

phone or device.

See also

“About overprinting” on page 424

“About pixel preview mode” on page 370

“Preview which areas of artwork will be flattened” on page 421

“Soft-proof colors” on page 137

“Save For Web & Devices overview” on page 381

Rulers, grids, and guides

Use rulers

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

• To show rulers, choose View > Show Rulers.

• To hide rulers, choose View > Hide Rulers.

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• To change the ruler origin, move the pointer to the upper-left corner of the illustration window where the rulers

intersect, and drag the pointer to where you want the new ruler origin.

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

Note: Changing the ruler origin affects the tiling of patterns.

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

intersect.

Note: Rulers are also available for individual crop areas. To set rulers around crop areas, double-click the Crop tool to open the Crop Area Options dialog box, and select Show Crop Area Rulers.

Change the unit of measurement

The default unit of measurement in Illustrator is points (a point equals .3528 millimeter). You can change the unit that Illustrator uses for general measurements, strokes, and type. You can override the default unit while entering values in boxes.

• To change the default unit of measurement, choose Edit > Preferences > Units & Display Performance (Windows)

or Illustrator > Preferences > Units & Display Performance (Mac OS), and then select units for the General, Stroke, and Type options. If Show Asian Options is selected in the Type preferences, you can also select a unit specifically for Asian type.

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

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

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

• To change the unit of measurement when entering a value in a box, follow the value by any of the following abbre-

viations: inch, inches, in, millimeters, millimetres, mm, Qs (one Q equals 0.25 millimeter), centimeters, centimetres, cm, points, p, pt, picas, pc, pixel, pixels, and px.

When mixing picas and points, you can enter values as XpY, where X and Y are the number of picas and points (for

example, 12p6 for 12 picas, 6 points).

Use the grid

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

• To use the grid, choose View > Show Grid.

• To hide the grid, choose View > Hide Grid.

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

desired location.

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

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

• To specify the spacing between gridlines, grid style (lines or dots), grid color, or whether grids appear in the front

or back of artwork, choose Edit > Preferences > Guides & Grid (Windows) or Illustrator > Preferences > Guides & Grid (Mac OS).

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Use guides

Guides help you align text and graphic objects. You can create ruler guides (straight vertical or horizontal lines) and guide objects (vector objects that you convert to guides). Like the grid, guides do not print.

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

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

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

Guides & Grid (Mac OS).

• To lock guides, select View > Guides > Lock Guides.

Create guides

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

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

3 Drag the guide into position.

You can also convert vector objects to guides by selecting them and choosing View > Guides > Make Guides.

To make working with multiple guides easier, move them into a separate layer.

Move, delete, or release guides

If guides are locked, select View > Guides > Lock Guides.

2 Do any of the following:

• Move the guide by dragging or copying.

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

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

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

Guides > Release Guides.

Snap objects to anchor points and guides

Choose View > Snap To Point.

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

points and guides.

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

3 Drag the object to the desired location.

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

About Smart Guides

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

> Smart Guides.

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User Guide

You can use Smart Guides in the following ways:

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

points relative to an existing object.

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

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

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

You can change when and how Smart Guides appear by setting Smart Guide preferences.

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

Smart Guide preferences

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

OS) to set the following preferences:

(Mac

Text Label Hints Displays information about the position the cursor is currently snapped to (such as center) as you

manipulate the cursor.

Construction Guides Displays guidelines in the file as you use Smart Guides.

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

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

Angles Sets angles at which you want guidelines drawn from the anchor points of a nearby object. You can set up to

six angles. Type an angle in the selected Angles box, select a set of angles from the Angles pop-up menu, or select a set of angles from the pop-up menu and change one of the values in the box to customize a set of angles. The preview reflects your settings.

Snapping Tolerance Specifies the number of points the pointer must be from another object for Smart Guides to

take effect.

Measure the distance between objects

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

1 Select the Measure tool .

2 Do one of the following:

• Click the two points to measure the distance between them.

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

The Info panel shows the horizontal and vertical distances from the x and y axes, the absolute horizontal and vertical distances, the total distances, and the angle measured.

ILLUSTRATOR CS3

User Guide

Info panel overview

You use the Info panel (Window > Info) to get information on the area beneath the pointer and on selected objects.

• When an object is selected and a selection tool is active, the Info panel displays the object’s x and y coordinates,

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

• When you use the Pen tool or Gradient tool, or when you move a selection, the Info panel displays the change in

x (W), the change in y (H), the distance (D), and the angle as you drag.

• When you use the Zoom tool, the Info panel displays the magnification factor and the x and y coordinates after

you release the mouse button.

• When you use the Scale tool, the Info panel displays the percentage change in width (W) and height (H) and the

new width (W) and height (H) after the scaling is complete. When you use the rotate or reflect tools, the Info panel displays the coordinates of the object’s center and the angle of rotation or reflection .

• When you use the Shear tool, the Info panel displays the coordinates of the object’s center, the angle of shear

axis , and the amount of shear .

• When you use the Paintbrush tool, the Info panel displays the x and y coordinates and the name of the current

brush.

• Select Show Options from the panel menu or click the double arrow on the panel tab to show values for the fill

and stroke colors of the selected object and the name of any pattern, gradient, or tint applied to the selected object.

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

Setting preferences

About preferences

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

OS), which is launched each time you start Illustrator. To restore Illustrator’s default settings, you can remove

(Mac or rename preferences file and relaunch Illustrator. This can be helpful if you are having problems with the appli cation.

Note: It is safe to remove the entire Adobe Illustrator CS3 Settings folder. This folder contains various preferences that can be regenerated.

You set preferences in the Preferences dialog box. To open the Preferences dialog box, choose Edit > Preferences (Windows) or Illustrator different options in the Preferences dialog box, select an option from the menu at the upper-left of the Preferences dialog box. You can also click Next to display the next options, or click Prev to display the previous options.

> Preferences (Mac OS), followed by the type of preferences you want. To switch to

About plug-in modules

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

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User Guide

You can install any commercial plug-in designed for use with Photoshop or Illustrator. To install an Adobe Systems plug-in module, use the installer if one is provided. Otherwise, drag a copy of the module to the Plug-ins folder inside the Illustrator folder. Then restart Illustrator for the plug-in to take effect. To install a third-party plug-in module, follow the installation instructions that came with the plug-in module.

Note: The open architecture of the Adobe Illustrator program allows developers outside of Adobe to create features that are accessible from within Adobe Illustrator. If you are interested in creating plug-in modules compatible with Adobe Illustrator, see the Adobe Systems U.S. website at www.adobe.com.

Recovery, undo, and automation

Undo and redo changes

The Undo and Redo commands let you undo or redo operations, allowing you to correct mistakes as you work. You can undo or redo an operation after you select the Save command (but not if you have closed and then reopened the file).

❖ Choose Edit > Undo or Edit > Redo.

You can undo an unlimited number of operations (depending on memory) by repeatedly choosing the Undo command. If an operation cannot be undone, the Undo command is dimmed.

Revert to the last saved version

You can revert a file to the last saved version (but not if you have closed and then reopened the file). You cannot undo this action.

❖ Choose File > Revert.

Automating tasks

Graphic design is a field characterized by creativity, but there are some aspects of the actual work of illustration that can be repetitious. In fact, you’ll probably notice that the time you spend placing and replacing images, correcting errors, and preparing files for printing and web display often reduces the time you have available for doing creative work.

Illustrator provides a variety of ways to automate many of the repetitive tasks you have to do, leaving more time to concentrate on the creative aspects of your work.

An action is a series of tasks that are recorded while using the Illustrator application—menu commands, tool options, object selection, and so on. When you play an action, Illustrator performs all of the recorded tasks for you.

Illustrator provides prerecorded actions to assist you in performing common tasks. These actions are installed as a default set in the Actions panel when you install the Illustrator application.

A script is a series of commands that tells your computer to perform a sequence of operations. These operations may involve only Illustrator, or they may involve other applications, such as word-processing, spreadsheet, and databasemanagement programs. Illustrator provides default scripts to assist you in performing common tasks. You can access these scripts by choosing File

Data-driven graphics streamline how designers and developers work together in high-volume publishing environments.

> Scripts.

Chapter 3: Drawing

You draw and modify paths using a set of drawing tools and techniques common to Adobe Illustrator, Adobe® InDesign®, and Adobe® Photoshop®. Use these applications to draw paths, and freely copy and paste them between programs. You can also create symbols for use in both Adobe Illustrator and Adobe® Flash® CS3 Professional.

Drawing basics

About vector graphics

Vector graphics (sometimes called vector shapes or vector objects) are made up of lines and curves defined by mathematical objects called vectors, which describe an image according to its geometric characteristics.

3:1

24:1

Example of a vector image at different levels of magnification

You can freely move or modify vector graphics without losing detail or clarity, because they are resolutionindependent—they maintain crisp edges when resized, printed to a PostScript printer, saved in a PDF file, or imported into a vector-based graphics application. As a result, vector graphics are the best choice for artwork, such as logos, that will be used at various sizes and in various output media.

The vector objects you create using the drawing and shape tools in Adobe Creative Suite are examples of vector graphics. You can use the Copy and Paste commands to duplicate vector graphics between Creative Suite compo nents.

See also

“About bitmap images” on page 258

About paths

As you draw, you create a line called a path. A path is made up of one or more straight or curved segments. The beginning and end of each segment are marked by anchor points, which work like pins holding a wire in place. A path can be closed (for example, a circle), or open, with distinct endpoints (for example, a wavy line).

You change the shape of a path by dragging its anchor points, the direction points at the end of direction lines that appear at anchor points, or the path segment itself.

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User Guide

Components of a path A. Selected (solid) endpoint B. Selected anchor point C. Unselected anchor point D. Curved path segment E. Direction line F. Direction point

Paths can have two kinds of anchor points: corner points and smooth points. At a corner point, a path abruptly changes direction. At a smooth point, path segments are connected as a continuous curve. You can draw a path using any combination of corner and smooth points. If you draw the wrong kind of point, you can always change it.

A B C

Points on a path A. Four corner points B. Four smooth points C. Combination of corner and smooth points

A corner point can connect any two straight or curved segments, while a smooth point always connects two curved segments.

A corner point can connect both straight segments and curved segments.

Note: Don’t confuse corner and smooth points with straight and curved segments.

A path’s outline is called a stroke. A color or gradient applied to an open or closed path’s interior area is called a fill. A stroke can have weight (thickness), color, and a dash pattern (Illustrator and InDesign) or a stylized line pattern (InDesign). After you create a path or shape, you can change the characteristics of its stroke and fill.

In InDesign, each path also displays a center point, which marks the center of the shape but is not part of the actual path. You can use this point to drag the path, to align the path with other elements, or to select all anchor points on the path. The center point is always visible; it can’t be hidden or deleted.

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About direction lines and direction points

When you select an anchor point that connects curved segments (or select the segment itself), the anchor points of the connecting segments display direction handles, which consist of direction lines that end in direction point. The angle and length of the direction lines determine the shape and size of the curved segments. Moving the direction points reshapes the curves. Direction lines don’t appear in the final output.

After selecting an anchor point (left), direction lines appear on any curved segments connected by the anchor point (right).

A smooth point always has two direction lines, which move together as a single, straight unit. When you move a direction line on a smooth point, the curved segments on both sides of the point are adjusted simultaneously, maintaining a continuous curve at that anchor point.

In comparison, a corner point can have two, one, or no direction lines, depending on whether it joins two, one, or no curved segments, respectively. Corner point direction lines maintain the corner by using different angles. When you move a direction line on a corner point, only the curve on the same side of the point as that direction line is adjusted.

Adjusting direction lines on a smooth point (left) and a corner point (right)

Direction lines are always tangent to (perpendicular to the radius of) the curve at the anchor points. The angle of each direction line determines the slope of the curve, and the length of each direction line determines the height, or depth, of

Moving and resizing direction lines changes the slope of curves.

the curve.

Note: In Illustrator, you can show or hide anchor points, direction lines, and direction points by choosing View > Show Edges or View > Hide Edges.

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User Guide

Specify direction line and direction point appearance

When working with anchor points and paths, you may sometimes need to see direction lines (handles), while at other times they may get in the way. You can show or hide direction lines for multiple selected anchor points. For a single anchor point, the lines always appear.

You can choose to show or hide direction lines on a per-selection basis, or you can set a preference for direction line display.

For a video on setting direction lines and points, see www.adobe.com/go/vid0037.

See also

“Specify selection preferences” on page 194

Show or hide direction lines for selected anchor points

Use the Direct Selection tool to select the desired anchor points.

2 In the Control panel, click Show Handles For Multiple Selected Anchor Points > or Hide Handles For Multiple

Selected Anchor Points .

Note: You can also set a preference to always show or always hide handles when multiple anchor points are selected.

Set direction point and direction line display preferences

Choose Edit > Preferences > Selection & Anchor Display (Windows) or Illustrator > Preferences > Selection &

Anchor Display (Mac OS).

2 In the Anchor Point And Handle Display area, specify any of the following:

Handles Specifies the display of handle end points (direction points):

• Displays direction points as small solid circles.

• Displays direction points as large solid circles.

• Displays direction points as open crosses.

Show Handles When Multiple Anchors Are Selected Displays direction lines on all selected anchor points when you

use the Direct Selection tool or Group Selection tool to select an object. If you don’t select this option, direction lines are displayed for an anchor point if it is the only anchor point selected on that path, or if the Bezier segment for the direction line is selected and the anchor point from which the direction line extends is not selected.

Specify anchor point size preferences

1 Choose Edit > Preferences > Selection & Anchor Display (Windows) or Illustrator > Preferences > Selection &

Anchor Display (Mac OS).

2 In the Anchor Point And Handle Display area, specify any of the following:

Anchors Specifies the display of anchor points:

• Displays both selected and unselected anchor points as small points.

• Displays selected anchor points as large points and unselected anchor points as small points.

• Displays both selected and unselected anchor points as large points.

Highlight Anchors On Mouse Over Highlights the anchor point located directly below the mouse cursor.

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User Guide

Drawing simple lines and shapes

Draw straight lines with the Line Segment tool

Use the Line Segment tool when you want to draw one straight line segment at a time. For a video on using the Line Segment tool, see

1 Select the Line Segment tool .

2 Do one of the following:

• Position the pointer where you want the line to begin, and drag to where you want the line to end.

• Click where you want the line to begin, and specify the length and angle of the line. If you want to fill the line with

the current fill color, select Fill Line. Then click OK.

See also

“Drawing tool gallery” on page 26

“Keys for drawing” on page 462

www.adobe.com/go/vid0036.

Draw rectangles and squares

1 Select the Rectangle tool or the Rounded Rectangle tool .

2 Do one of the following:

• To draw a rectangle, drag diagonally until the rectangle is the desired size.

• To draw a square, hold down the Shift key while you drag diagonally until the square is the desired size.

• To create a square or rectangle using values, click where you want the top-left corner to be. Specify a width and

height (and a corner radius for a rounded rectangle), and click OK.

For a video on using shape tools, see www.adobe.com/go/vid0036.

See also

“Drawing tool gallery” on page 26

“Keys for drawing” on page 462

Change the corner radius of a rounded rectangle

The corner radius determines the roundness of the rectangle’s corners.

• To change the default corner radius, choose Edit> Preferences > General (Windows) or Illustrator > Preferences >

General (Mac OS), and enter a new value for Corner Radius. Alternatively, select the Rounded Rectangle tool, click in the document window, and enter a new value for Corner Radius. The default radius applies only to new rounded rectangles you draw, not to existing rounded rectangles.

• To change the corner radius while dragging with the Rounded Rectangle tool, press the Up Arrow key or Down

Arrow key. When the corners are the desired roundness, release the key.

• To create square corners while dragging with the Rounded Rectangle tool, press the Left Arrow key.

• To create the most rounded corners while dragging with the Rounded Rectangle tool, press the Right Arrow key.

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User Guide

Draw ellipses

1 Select the Ellipse tool .

2 Do one of the following:

• Drag diagonally until the ellipse is the desired size.

• Click where you want the top-left corner of the ellipse’s bounding box to be. Specify a width and height for the

ellipse, and click OK.

Note: To create a circle, hold down the Shift key while dragging, or if you are specifying dimensions, once you’ve entered a Width value you can click on the word Height to copy that value into the Height box.

For a video on using shape tools, see www.adobe.com/go/vid0036.

See also

“Drawing tool gallery” on page 26

“Keys for drawing” on page 462

Draw polygons

1 Select the Polygon tool .

2 Do one of the following:

• Drag until the polygon is the desired size. Drag the pointer in an arc to rotate the polygon. Press the Up Arrow

and Down Arrow keys to add and remove sides from the polygon.

• Click where you want the center of the polygon to be. Specify a radius and number of sides for the polygon, and

click OK.

Triangles are polygons too! You can draw one just as you would any other polygon.

For a video on using shape tools, see www.adobe.com/go/vid0036.

See also

“Drawing tool gallery” on page 26

“Keys for drawing” on page 462

Draw stars

1 Select the Star tool .

2 Do one of the following:

• Drag until the star is the desired size. Drag the pointer in an arc to rotate the star. Press the Up Arrow and Down

Arrow to add and remove points from the star.

• Click where you want the center of the star to be. For Radius 1, specify the distance from the center of the star to

the star’s innermost points. For Radius 2, specify the distance from the center of the star to the star’s outermost points. For Points, specify how many points you want the star to have. Then click OK.

For a video on using shape tools, see www.adobe.com/go/vid0036.

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User Guide

See also

“Drawing tool gallery” on page 26

“Keys for drawing” on page 462

Draw arcs

1 Select the Arc tool .

2 Do one of the following:

• Position the pointer where you want the arc to begin, and drag to where you want the arc to end.

• Click where you want the arc to begin. In the dialog box, click a square on the reference point locator to

determine the point from which the arc is drawn. Then set any of the following options, and click OK.

Length X-Axis Specifies the width of the arc.

Length Y-Axis Specifies the height of the arc.

Type Specifies whether you want the object to be an open path or a closed path.

Base Along Specifies the direction of the arc. Choose X Axis or Y Axis depending on whether you want to draw the

base of the arc along the horizontal (x) axis or vertical (y) axis.

Slope Specifies the direction of the arc’s slope. Enter a negative value for a concave (inward) slope. Enter a positive

value for a convex (outward) slope. A slope of 0 creates a straight line.

Fill Arc Fills the arc with the current fill color.

Note: To see a dynamic preview of the arc as you set options, double-click the arc tool in the Tools panel.

See also

“Drawing tool gallery” on page 26

“Keys for drawing” on page 462

Draw spirals

1 Select the Spiral tool .

2 Do one of the following:

• Drag until the spiral is the desired size. Drag the pointer in an arc to rotate the spiral.

• Click where you want the spiral to begin. In the dialog box, set any of the following options, and click OK.

Radius Specifies the distance from the center to the outermost point in the spiral.

Decay Specifies the amount by which each wind of the spiral should decrease relative to the previous wind.

Segments Specifies how many segments the spiral has. Each full wind of the spiral consists of four segments.

Style Specifies the direction of the spiral.

See also

“Drawing tool gallery” on page 26

“Keys for drawing” on page 462

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User Guide

Draw grids

Use the grid tools to quickly draw rectangular and polar grids. The Rectangular Grid tool creates rectangular grids of a specified size with a specified number of dividers. The Polar Grid tool creates concentric circles of a specified size and a specified number of dividers.

See also

“Drawing tool gallery” on page 26

“Keys for drawing” on page 462

Draw rectangular grids

Select the Rectangular Grid tool .

2 Do one of the following:

• Drag until the grid is the desired size.

• Click to set the grid’s reference point. In the dialog box, click a square on the reference point locator to

determine the point from which the grid is drawn. Then set any of the following options, and click OK.

Default Size Specifies the width and height of the entire grid.

Horizontal Dividers Specifies the number of horizontal dividers you want to appear between the top and bottom of

the grid. The Skew value determines how the horizontal dividers are weighted toward the top or bottom of the grid.

Vertical Dividers Specifies the number of dividers you want to appear between the left and right sides of the grid.

The Skew value determines how the vertical dividers are weighted to the left or right side.

Use Outside Rectangle As Frame Replaces the top, bottom, left, and right segments with a separate rectangular

object.

Fill Grid Fills the grid with the current fill color (otherwise, the fill is set to none).

Draw circular (polar) grids

Select the Polar Grid tool .

2 Do one of the following:

• Drag until the grid is the desired size.

• Click to set the grid’s reference point. In the dialog box, click a square on the reference point locator to

determine the point from which the grid is drawn. Then set any of the following options, and click OK.

Default Size Specifies the width and height of the entire grid.

Concentric Dividers Specifies the number of circular concentric dividers you want to appear in the grid. The Skew

value determines how the concentric dividers are weighted toward the inside or outside of the grid.

Radial Dividers

Specifies the number of radial dividers you want to appear between the center and the circumference

of the grid. The Skew value determines how the radial dividers are weighted counterclockwise or clockwise on the grid.

Create Compound Path From Ellipses Converts the concentric circles into separate compound paths and fill every

other circle.

Fill Grid Fills the grid with the current fill color (otherwise, the fill is set to none).

ILLUSTRATOR CS3

User Guide

Drawing flares

Create a flare

The Flare tool creates flare objects with a bright center, a halo, and rays and rings. Use this tool to create an effect similar to a lens flare in a photograph.

Flares include a center handle and an end handle. Use the handles to position the flare and its rings. The center handle is in the bright center of the flare—the flare path begins from this point.

C D E

Components of a flare A. Center handle B. End handle C. Rays (shown black for clarity) D. Halo E. Rings

See also

“Drawing tool gallery” on page 26

Create a default flare

Select the Flare tool .

2 Press Alt (Windows) or Option (Mac OS), and click where you want the center handle of the flare to appear.

Flares often look best when drawn over existing objects.

Draw a flare

Select the Flare tool.

2 Press the mouse button down to place the center handle of the flare, then drag to set the size of the center, the size

of the halo, and to rotate the angle of the rays.

Before releasing the mouse, press Shift to constrain the rays to a set angle. Press Up Arrow or Down Arrow to add or subtract rays. Press Ctrl (Windows) or Command (Mac

OS) to hold the center of the flare constant.

3 Release the mouse when the center, halo, and rays are as desired.

4 Press and drag again to add rings to the flare and place the end handle.

Before releasing the mouse, Press Up Arrow or Down Arrow to add or subtract rings. Press the tilde (~) key to randomly place the rings.

5 Release the mouse when the end handle is in the desired location.

Each element (center, halo, rings, and rays) in the flare is filled with color at different opacity settings.

ILLUSTRATOR CS3

User Guide

Create a flare using the Flare Tool Options dialog box

Select the Flare tool, and click where you want to place the center handle of the flare.

2 In the Flare Tool Options dialog box, do any of the following options, and click OK:

• Specify the overall diameter, opacity, and brightness of the flare’s center.

• Specify the Growth of the halo as a percentage of the overall size, and specify the fuzziness of the halo (0 is crisp

and 100 is fuzzy).

• If you want the flare to contain rays, select Rays and specify the number of rays, the longest ray (as a percentage

of the average ray), and the fuzziness of the rays (0 is crisp and 100 is fuzzy).

• If you want the flare to contain rings, select Rings and specify the distance of the path between the halo’s center

point (center handle) and the center point of the furthest ring (end handle), the number of rings, the largest ring (as a percentage of the average ring), and the direction or angle of the rings.

Edit a flare

Do any of the following:

• Select the flare, and double-click the Flare tool icon to open the Flare Tool Options dialog box. Change settings in

the dialog box.

To reset a flare to the default values, hold down Alt (Windows) or Option (Mac OS), and click Reset.

• Select the flare and the Flare tool. Drag an endpoint—from either the center handle or the end handle—to change

the length or direction of the flare.

• Select the flare, and choose Object > Expand. This makes the elements of the flare editable, like elements of blends.

See also

“Expand objects” on page 202

Drawing with the Pencil tool

Draw with the Pencil tool

The Pencil tool works primarily the same way in Adobe Illustrator and InDesign. It lets you draw open and closed paths as if you were drawing with a pencil on paper. It is most useful for fast sketching or creating a hand-drawn look. Once you draw a path, you can immediately change it if needed.

Anchor points are set down as you draw with the Pencil tool; you do not determine where they are positioned. However, you can adjust them once the path is complete. The number of anchor points set down is determined by the length and complexity of the path and by tolerance settings in the Pencil Tool Preferences dialog box. These settings control how sensitive the Pencil tool is to the movement of your mouse or graphics-tablet stylus.

For a video on drawing with the Pencil tool in Illustrator, see www.adobe.com/go/vid0039.

Draw freeform paths with the Pencil tool

Select the Pencil tool .

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User Guide

2 Position the tool where you want the path to begin, and drag to draw a path. The Pencil tool displays a small

x to indicate drawing a freeform path.

As you drag, a dotted line follows the pointer. Anchor points appear at both ends of the path and at various points along it. The path takes on the current stroke and fill attributes, and remains selected by default.

Draw closed paths with the Pencil tool

Select the Pencil tool.

2 Position the tool where you want the path to begin, and start dragging to draw a path.

3 After you’ve begun dragging, hold down Alt (Windows) or Option (Mac OS). The Pencil tool displays a small

circle (and, in InDesign, a solid eraser) to indicate that you’re creating a closed path.

4 When the path is the size and shape you want, release the mouse button (but not the Alt or Option key). After the

path closes, release the Alt or Option key.

You don’t have to position the cursor over the starting point of the path in order to create a closed path; if you release the mouse button in some other location, the Pencil tool will close the shape by creating the shortest possible line back to the original point.

Edit paths with the Pencil tool

You can edit any path using the Pencil tool and add freeform lines and shapes to any shape.

Add to a path with the Pencil tool

Select an existing path.

2 Select the Pencil tool.

3 Position the pencil tip on an endpoint of the path.

You can tell you’re close enough to the endpoint when the small x next to the pencil tip disappears.

4 Drag to continue the path.

Connect two paths with the Pencil tool

Select both paths (Shift-click or drag around the two with the Selection tool).

2 Select the Pencil tool.

3 Position the pointer where you want to begin from one path, and start dragging toward the other path.

4 After you begin dragging, hold down Ctrl (Windows) or Command (Mac OS). The Pencil tool displays a small

merge symbol to indicate you’re adding to the existing path.

5 Drag onto the endpoint of the other path, release the mouse button, and then release the Ctrl or Command key.

Note: For best results, drag from one path to the other as if you were simply continuing the paths in the direction they were created.

Reshape paths with the Pencil tool

Select the path you want to change.

2 Position the Pencil tool on or near the path to redraw.

You can tell you’re close enough to the path when the small x disappears from the tool.

3 Drag the tool until the path is the desired shape.

ILLUSTRATOR CS3

User Guide

Using the Pencil tool to edit a closed shape

Note: Depending on where you begin to redraw the path and in which direction you drag, you may get unexpected results. For example, you may unintentionally change a closed path to an open path, change an open path to a closed path, or lose a portion of a shape.

Pencil tool options

Double-click the Pencil tool to set any of the following options:

Fidelity Controls how far you have to move your mouse or stylus before a new anchor point is added to the path.

The higher the value, the smoother and less complex the path. The lower the value, the more the curves will match the pointer’s movement, resulting in sharper angles. Fidelity can range from 0.5 to 20 pixels.

Smoothness Controls the amount of smoothing applied when you use the tool. Smoothness can range from 0% to

100%. The higher the value, the smoother the path. The lower the value, the more anchor points are created, and the more the line’s irregularities are preserved.

Fill New Pencil Strokes (Illustrator only) Applies a fill to pencil strokes you draw after selecting this option, but not

to existing pencil strokes. Remember to select a fill before you draw the pencil strokes.

Keep Selected Determines whether to keep the path selected after you draw it. This option is selected by default.

Edit Selected Paths Determines whether or not you can change or merge an existing path when you are within a

certain distance of it (specified with the next option).

Within: _ pixels Determines how close your mouse or stylus must be to an existing path in order to edit the path with

the Pencil tool. This option is only available when the Edit Selected Paths option is selected.

Drawing with the Pen tool

Draw straight line segments with the Pen tool

The simplest path you can draw with the Pen tool is a straight line, made by clicking the Pen tool to create two anchor points. By continuing to click, you create a path made of straight line segments connected by corner points.

ILLUSTRATOR CS3

User Guide

Clicking Pen tool creates straight segments.

1 Select the Pen tool.

2 Position the Pen tool where you want the straight segment to begin, and click to define the first anchor point (do

not drag).

Note: The first segment you draw will not be visible until you click a second anchor point. (Select the Rubber Band option in Photoshop to preview path segments.) Also, if direction lines appear, you’ve accidentally dragged the Pen tool; choose Edit > Undo, and click again.

Click again where you want the segment to end (Shift-click to constrain the angle of the segment to a multiple of 45˚).

4 Continue clicking to set anchor points for additional straight segments.

The last anchor point you add always appears as a solid square, indicating that it is selected. Previously defined anchor points become hollow, and deselected, as you add more anchor points.

5 Complete the path by doing one of the following:

• To close the path, position the Pen tool over the first (hollow) anchor point. A small circle appears next to the Pen

tool pointer when it is positioned correctly. Click or drag to close the path.

Note: To close a path in InDesign, you can also select the object and choose Object > Paths > Close Path.

• To leave the path open, Ctrl-click (Windows) or Command-click (Mac OS) anywhere away from all objects.

To leave the path open, you can also select a different tool, or choose Select > Deselect in Illustrator or Edit > Deselect All in InDesign.

Draw curves with the Pen tool

You create a curve by adding an anchor point where a curve changes direction, and dragging the direction lines that shape the curve. The length and slope of the direction lines determine the shape of the curve.

Curves are easier to edit and your system can display and print them faster if you draw them using as few anchor points as possible. Using too many points can also introduce unwanted bumps in a curve. Instead, draw widely spaced anchor points, and practice shaping curves by adjusting the length and angles of the direction lines.

1 Select the Pen tool.

2 Position the Pen tool where you want the curve to begin, and hold down the mouse button.

The first anchor point appears, and the Pen tool pointer changes to an arrowhead. (In Photoshop, the pointer changes only after you’ve started dragging.)

3 Drag to set the slope of the curve segment you’re creating, and then release the mouse button.

In general, extend the direction line about one third of the distance to the next anchor point you plan to draw. (You can adjust one or both sides of the direction line later.)

ILLUSTRATOR CS3

User Guide

Hold down the Shift key to constrain the tool to multiples of 45˚.

A B C

Drawing the first point in a curve A. Positioning Pen tool B. Starting to drag (mouse button pressed) C. Dragging to extend direction lines

4 Position the Pen tool where you want the curve segment to end, and do one of the following:

• To create a C-shaped curve, drag in a direction opposite to the previous direction line. Then release the mouse

button.

A BC

Drawing the second point in a curve A. Starting to drag second smooth point B. Dragging away from previous direction line, creating a C curve C. Result after releasing mouse button

• To create an S-shaped curve, drag in the same direction as the previous direction line. Then release the mouse

button.

A BC

Drawing an S curve A. Starting to drag new smooth point B. Dragging in same direction as previous direction line, creating an S curve C. Result after releasing mouse button

(Photoshop only) To change the direction of the curve sharply, release the mouse button, and then Alt-drag

(Windows) or Option-drag (Mac OS) the direction point in the direction of the curve. Release the Alt (Windows) or Option (Mac OS) key and the mouse button, reposition the pointer where you want the segment to end, and drag in the opposite direction to complete the curve segment.

5 Continue dragging the Pen tool from different locations to create a series of smooth curves. Note that you are

placing anchor points at the beginning and end of each curve, not at the tip of the curve.

Alt-drag (Windows) or Option-drag (Mac OS) direction lines to break out the direction lines of an anchor point.

ILLUSTRATOR CS3

User Guide

6 Complete the path by doing one of the following:

• To close the path, position the Pen tool over the first (hollow) anchor point. A small circle appears next to the Pen

tool pointer when it is positioned correctly. Click or drag to close the path.

Note: To close a path in InDesign, you can also select the object and choose Object > Paths > Close Path.

• To leave the path open, Ctrl-click (Windows) or Command-click (Mac OS) anywhere away from all objects.

To leave the path open, you can also select a different tool, or choose Select > Deselect in Illustrator or Edit > Deselect All in InDesign.

For a video on using the Pen tool in Illustrator, see www.adobe.com/go/vid0037.

Draw straight lines followed by curves

1 Using the Pen tool, click corner points in two locations to create a straight segment.

2 Position the Pen tool over the selected endpoint. In Illustrator and InDesign, a convert-point icon appears next to

the Pen tool when it is positioned correctly (In Photoshop, a small diagonal line, or slash, appears next to the Pen tool). To set the slope of the curved segment you’ll create next, click the anchor point, and drag the direction line that appears.

A BC

Drawing a straight segment followed by a curved segment (part 1)

A. Straight segment completed B. Positioning Pen tool over endpoint (the Convert Point icon appears only in Illustrator and InDesign) C. Dragging direction point

3 Position the pen where you want the next anchor point; then click (and drag, if desired) the new anchor point to

complete the curve.

ABC

Drawing a straight segment followed by a curved segment (part 2) A. Holding Pen tool down B. Dragging direction line C. New curve segment completed

Draw curves followed by straight lines

1 Using the Pen tool, drag to create the first smooth point of the curved segment, and release the mouse button.

2 Reposition the Pen tool where you want the curved segment to end, drag to complete the curve, and release the

mouse button.

ILLUSTRATOR CS3

User Guide

A B

Drawing a curved segment followed by a straight segment (part 1) A. First smooth point of curved segment completed and Pen tool positioned over endpoint B. Dragging to complete the curve

3 Position the Pen tool over the selected endpoint. A convert-point icon appears next to the Pen tool when it is

positioned correctly. Click the anchor point to convert the smooth point to a corner point.

4 Reposition the Pen tool where you want the straight segment to end, and click to complete the straight segment.

Drawing a curved segment followed by a straight segment (part 2) C. Positioning Pen tool over existing endpoint D. Clicking endpoint E. Clicking next corner point

D E

Draw two curved segments connected by a corner

1 Using the Pen tool, drag to create the first smooth point of a curved segment.

2 Reposition the Pen tool and drag to create a curve with a second smooth point; then press and hold Alt (Windows)

or Option (Mac OS) and drag the direction line toward its opposing end to set the slope of the next curve. Release the key and the mouse button.

This process converts the smooth point to a corner point by splitting the direction lines.

3 Reposition the Pen tool where you want the second curved segment to end, and drag a new smooth point to

complete the second curved segment.

A BC

Drawing two curves A. Dragging a new smooth point B. Pressing Alt/Option to split direction lines while dragging, and swinging direction line up C. Result after repositioning and dragging a third time

Reposition anchor points as you draw

❖ After you click to create an anchor point, keep the mouse button pressed down, hold down the spacebar, and drag

to reposition the anchor point.

ILLUSTRATOR CS3

User Guide

Finish drawing a path

❖ Complete a path in one of the following ways:

• To close a path, position the Pen tool over the first (hollow) anchor point. A small circle appears next to the Pen

tool pointer when it is positioned correctly. Click or drag to close the path.

Note: To close a path in InDesign, you can also select the object and choose Object > Paths > Close Path.

• To leave a path open, Ctrl-click (Windows) or Command-click (Mac OS) anywhere away from all objects.

To leave the path open, you can also select a different tool, or choose Select > Deselect in Illustrator or Edit > Deselect All in InDesign.

Editing paths

Select paths, segments, and anchor points

Before you can reshape or edit a path, you need to select the path’s anchor points, segments, or a combination of both.

Select anchor points

• If you can see the points, you can click them with the Direct Selection tool to select them. Shift-click to select

multiple points.

• Select the Direct Selection tool and drag a boundary around the anchor points. Shift-drag around additional

anchor points to select them.

• Make sure the path that contains the anchor points is not selected. Move the Direct Selection tool over the anchor

point until the pointer displays a hollow square, and then click the anchor point. Shift-click additional anchor points to select them.

• (Illustrator only) Select the Lasso tool , and drag around the anchor points. Shift-drag around additional anchor

points to select them.

Select path segments

Do any of the following:

• Select the Direct Selection tool , and click within 2 pixels of the segment, or drag a marquee over part of the

segment. Shift-click or Shift-drag around additional path segments to select them.

• (Illustrator only) Select the Lasso tool , and drag around part of the path segment. Shift-drag around

additional path segments to select them.

Select all anchor points and segments in a path

Select the Direct Selection tool or, in Illustrator, the Lasso tool.

2 Drag around the entire path.

If the path is filled, you can also click inside the path with the Direct Selection tool to select all anchor points.

Copy a path

❖ Select a path or segment with the Selection tool or Direct Selection tool and do one of the following:

• Use the standard menu functions to copy and paste paths within or between applications.

ILLUSTRATOR CS3

User Guide

• Press and hold Alt (Windows) or Option (Mac OS) and drag the path to the desired position, and then release the

mouse button and Alt/Option key.

Adjust path segments

Editing path segments works similarly in Adobe applications. You can edit a path segment at any time, but editing existing segments is slightly different from drawing them. Keep the following tips in mind when editing segments:

• If an anchor point connects two segments, moving that anchor point always changes both segments.

• When drawing with the Pen tool, press Ctrl (Windows) or Command (Mac OS) to temporarily activate the last

used selection tool (Illustrator) or the Direct Selection tool (InDesign and Photoshop) so that you can adjust segments you’ve already drawn.

• When you initially draw a smooth point with the Pen tool, dragging the direction point changes the length of the

direction line on both sides of the point. However, when you edit an existing smooth point with the Direct Selection tool, you change the length of the direction line only on the side you’re dragging.

See also

“Select paths, segments, and anchor points” on page 68

“Reshaping tool gallery” on page 29

Move straight segments

With the Direct Selection tool , select the segment you want to adjust.

2 Drag the segment to its new position.

Adjust the length or angle of straight segments

With the Direct Selection tool , select an anchor point on the segment you want to adjust.

2 Drag the anchor point to the desired position. Shift-drag to constrain the adjustment to multiples of 45˚.

In Illustrator or InDesign, if you’re simply trying to make a rectangle wider or narrower, it’s easier to select it with

the Selection tool and resize it using one of the handles on the sides of its bounding box.

Adjust the position or shape of curved segments

With the Direct Selection tool, select a curved segment, or an anchor point on either end of the curved segment.

Direction lines appear, if any are present. (Some curved segments use just one direction line.)

2 Do any of the following:

• To adjust the position of the segment, drag the segment. Shift-drag to constrain the adjustment to multiples of 45˚.

Click to select the curve segment. Then drag to adjust.

ILLUSTRATOR CS3

User Guide

• To adjust the shape of the segment on either side of a selected anchor point, drag the anchor point or the direction

point. Shift-drag to constrain movement to multiples of 45˚.

Drag the anchor point, or drag the direction point.

Note: You can also apply a transformation, such as scaling or rotating, to a segment or anchor point.

Delete a segment

Select the Direct Selection tool , and select the segment you want to delete.

2 Press Backspace (Windows) or Delete (Mac OS) to delete the selected segment. Pressing Backspace or Delete

again erases the rest of the path.

Extend an open path

Using the Pen tool, position the pointer over the endpoint of the open path you want to extend. The pointer

changes when it’s precisely positioned over the endpoint.

2 Click the endpoint.

3 Do one of the following:

• To create a corner point, position the Pen tool where you want to end the new segment, and click. If you are

extending a path that ends at a smooth point, the new segment will be curved by the existing direction line.

Note: In Illustrator, if you extend a path that ends in a smooth point, the new segment will be straight.

• To create a smooth point, position the Pen tool where you want to end the new curved segment, and drag.

Connect two open paths

Using the Pen tool, position the pointer over the endpoint of the open path that you want to connect to another

path. The pointer changes when it’s precisely positioned over the endpoint.

2 Click the endpoint.

3 Do one of the following:

• To connect the path to another open path, click an endpoint on the other path. When you precisely position the

Pen tool over the other path’s endpoint, a small merge symbol appears next to the pointer.

• To connect a new path to an existing path, draw the new path near the existing path, and then move the Pen tool

to the existing path’s (unselected) endpoint. Click that endpoint when you see the small merge symbol that appears next to the pointer.

Join two endpoints

Select the endpoints.

If the endpoints are coincident (on top of each other), drag a marquee through or around both endpoints to select them.

ILLUSTRATOR CS3

User Guide

2 Click the Connect Selected End Points button in the Control panel.

3 If the endpoints are coincident, a dialog box appears to let you specify the type of join you want. Select the Corner

option (the default) or the Smooth option, and click OK.

A B

Joining endpoints A. Selecting and joining coincident endpoints B. Selecting and joining noncoincident endpoints

Move or nudge anchor points or segments using the keyboard

Select the anchor point or path segment.

Note: In Photoshop, you can move only anchor points in this manner.

2 Click or hold down any of the arrow keys on the keyboard to move 1 pixel at a time in the direction of the arrow.

Hold down the Shift key in addition to the arrow key to move 10 pixels at a time.

Note: In Illustrator and InDesign, you can change the distance of a nudge by changing the Keyboard Increment preference. When you change the default increment, holding down Shift nudges 10 times the specified distance.

Stretch parts of a path without distorting its overall shape

Select the entire path.

2 Select the Reshape tool (located under the Scale tool ).

3 Position the cursor over the anchor point or path segment that you want to act as a focal point (that is, a point that

pulls selected path segments), and click.

If you click a path segment, a highlighted anchor point with a square around it is added to the path.

4 Shift-click more anchor points or path segments to act as focal points. You can highlight an unlimited number of

anchor points or path segments.

5 Drag the highlighted anchor points to adjust the path.

Adding and deleting anchor points

Adding anchor points can give you more control over a path, or it can extend an open path. However, it’s a good idea not to add more points than necessary. A path with fewer points is easier to edit, display, and print. You can reduce the complexity of a path by deleting unnecessary points. Adding and deleting anchor points works similarly in Adobe applications.

The Tools panel contains three tools for adding or deleting points: the Pen tool , the Add Anchor Point tool , and the Delete Anchor Point tool . In addition, the Control panel has a Remove Selected Anchor Points button

By default, the Pen tool changes to the Add Anchor Point tool as you position it over a selected path, or to the Delete Anchor Point tool as you position it over an anchor point.

Note: Don’t use the Delete, Backspace, and Clear keys or the Edit > Cut and Edit > Clear commands to delete anchor points: these keys and commands delete the point and the line segments that connect to that point.

ILLUSTRATOR CS3

User Guide

See also

“Drawing tool gallery” on page 26

“Select paths, segments, and anchor points” on page 68

Add or delete anchor points

Select the path you want to modify.

2 To add an anchor point, select the Pen tool or the Add Anchor Point tool, position the pointer over the path

segment, and click.

3 To delete an anchor point, do either of the following:

• Select the point with the Direct Selection tool and click Remove Selected Anchor Points in the Control panel.

• Select the Pen tool or the Delete Anchor Point tool, position the pointer over the anchor point, and click.

Find and delete stray anchor points

Stray anchor points are individual points that are not connected to other anchor points. It is a good practice to find and delete stray anchor points.

1 Deselect all objects.

2 Choose Select > Object > Stray Points.

3 Choose Edit > Cut or Edit > Clear commands, or press Delete or Backspace on the keyboard.

Disable or temporarily override automatic Pen tool switching

You can temporarily override or disable automatic switching to the Add Anchor Point tool or Delete Anchor Point tool.

• To temporarily override switching, hold down Shift as you position the Pen tool over the selected path or an

anchor point. This is useful when you want to start a new path on top of an existing path. To prevent Shift from constraining the Pen tool, release Shift before you release the mouse button.

• To disable switching, choose Edit > Preferences > General (Windows) or Illustrator > Preferences > General

(Mac OS), and select Disable Auto Add/Delete.

Smooth and simplify paths

You can smooth the appearance of paths as well as simplify paths by removing excess anchor points.

See also

“Drawing tool gallery” on page 26

“Keys for editing shapes” on page 464

“Select paths, segments, and anchor points” on page 68

Smooth paths

Select the object.

2 Select the Smooth tool .

3 Drag the tool along the length of the path segment you want to smooth out.

ILLUSTRATOR CS3

User Guide

4 Continue smoothing until the stroke or path is the desired smoothness.

A B C

Using the Smooth tool A. Original path B. Dragging across path with the Smooth tool C. Result

5 To change the amount of smoothing, double-click the Smooth tool and set the following options:

Fidelity Controls how far you have to move your mouse or stylus before Illustrator adds a new anchor point to the

path. For example, a Fidelity value of 2.5 means that tool movements of less than 2.5 pixels aren’t registered. Fidelity can range from 0.5 to 20 pixels; the higher the value, the smoother and less complex the path.

Smoothness Controls the amount of smoothing that Illustrator applies when you use the tool. Smoothness can

range from 0% to 100%; the higher the value, the smoother the path.

Simplify paths

Simplifying a path removes extra anchor points without changing the shape of the path. Removing unnecessary anchor points simplifies your artwork, reducing the file size, and making it display and print faster.

1 Select the object.

2 Choose Object > Path > Simplify.

3 Set the Curve Precision to control how closely the simplified path follows the original path.

Select Preview to show a preview of the simplified path and list the number of points in the original and simplified

paths.

4 Select additional options, and click OK:

Curve Precision Enter a value between 0% and 100% to set how closely the simplified path should follow the original

path. A higher percentage creates more points and a closer fit. Any existing anchor points are ignored except for endpoints of a curve and corner points (unless you enter a value for Angle Threshold).

Angle Threshold Enter a value between 0 and 180˚ to control the smoothness of corners. If the angle of a corner

point is less than the angle threshold, the corner point is not changed. This option helps keep corners sharp, even if the value for Curve Precision is low.

Straight Lines Creates straight lines between the object’s original anchor points. Corner points are removed if they

have an angle greater than the value set in Angle Threshold.

Show Original Shows the original path behind the simplified path.

Average the position of anchor points

Select two or more anchor points (on the same path or on different paths).

2 Choose Object > Path > Average.

3 Choose to average along the horizontal (x) axis only, the vertical (y) axis only, or both axes, and click OK.

ILLUSTRATOR CS3

User Guide

Convert between smooth points and corner points

You can convert the points on a path between corner to smooth points. Using options in the Control panel, you can quickly convert multiple anchor points. Using the Convert Anchor Point tool, you can choose to convert only one side of the point, and you can precisely alter the curve as you convert the point.

See also

“About paths” on page 52

“Drawing tool gallery” on page 26

“About direction lines and direction points” on page 54

Convert one or more anchor points using the Control panel

To use the anchor point conversion options in the Control panel, only relevant anchor points, not the entire object, should be selected. If you select multiple objects, one of the objects must be only partially selected. When entire objects are selected, the Control panel options change to those that affect the entire object.

• To convert one or more corner points to smooth points, select the points and then click the Convert Selected

Anchor Points To Smooth button in the Control panel.

• To convert one or more smooth points to corner points, select the points and then click the Convert Selected

Anchor Points To Corner button in the Control panel.

Convert an anchor point precisely using the Convert Anchor Point tool

Select the entire path you want to modify so that you can see its anchor points.

2 Select the Convert Anchor Point tool .

3 Position the Convert Anchor Point tool over the anchor point you want to convert, and do one of the following:

• To convert a corner point to a smooth point, drag a direction point out of the corner point.

Dragging a direction point out of a corner point to create a smooth point

• To convert a smooth point to a corner point without direction lines, click the smooth point.

Clicking a smooth point to create a corner point

ILLUSTRATOR CS3

User Guide

• To convert a smooth point to a corner point with independent direction lines, drag either direction point.

Converting a smooth point to a corner point

• To convert a corner point without direction lines to a corner point with independent direction lines, first drag a

direction point out of a corner point (making it a smooth point with direction lines). Release the mouse button only (don’t release any keys you may have pressed to activate the Convert Anchor Point tool), and then drag either direction point.

Erase artwork

You can erase portions of your artwork using the Path Eraser tool, the Eraser tool, or the eraser on a Wacom stylus pen. The Path Eraser tool want to limit what you erase to a path segment, such as one edge of a triangle. The Eraser tool and the eraser on a Wacom stylus pen let you erase any area of your artwork, regardless of structure. You can use the Eraser tool on paths, compound paths, paths inside Live Paint groups, and clipping paths.

lets you erase parts of a path by drawing along the path. This tool is useful when you

Using the Path Eraser tool to erase portions of a path (left), using the Eraser tool to erase part of a grouped object (right)

For a video on using the Eraser tool, see www.adobe.com/go/vid0036.

See also

“Drawing tool gallery” on page 26

“Keys for editing shapes” on page 464

Erase part of a path using the Path Eraser tool

Select the object.

2 Select the Path Eraser tool .

3 Drag the tool along the length of the path segment you want to erase. For best results, use a single, smooth,

dragging motion.

ILLUSTRATOR CS3

User Guide

Erase objects using the Eraser tool

Do one the following:

• To erase specific objects, select the objects or open the objects in isolation mode.

• To erase any object on the artboard, leave all objects unselected.

When you have nothing selected, the Eraser tool erases through and across all layers.

2 Select the Eraser tool .

3 (Optional) Double-click the Eraser tool and specify options.

4 Drag over the area you want to erase. You can control the tool by doing any of the following:

• To constrain the Eraser tool to a vertical, horizontal, or diagonal line, Shift-drag.

• To create a marquee around an area and erase everything inside the area, Alt-drag (Windows) or Option-drag

(Mac OS). To constrain the marquee to a square, Alt-Shift-drag (Windows) or Option-Shift-drag (Mac OS).

Erase objects using a Wacom stylus pen eraser

When you flip a stylus pen, the Eraser Tool automatically becomes active. When you flip the stylus pen back over, the last active tool becomes active again.

❖ Turn over the stylus pen and drag across the area you want to erase.

Press harder to increase the width of the erased path.

Eraser tool options

You can change the Eraser tool options by double-clicking the tool in the Tools panel.

Note: You can change the diameter at any time by pressing ] to enlarge or [ to reduce.

Angle Determines the angle of rotation for the tool. Drag the arrowhead in the preview, or enter a value in the Angle

text box.

Roundness Determines roundness of the tool. Drag a black dot in the preview away from or toward the center,

or enter a value in the Roundness text box. The higher the value, the greater the roundness.

Diameter Determines the diameter of the tool. Use the Diameter slider, or enter a value in the Diameter text box.

The pop-up list to the right of each option lets you control variations in the shape of the tool. Select one of the following options:

Fixed Uses a fixed angle, roundness, or diameter.

Random Uses random variations in angle, roundness, or diameter. Enter a value in the Variation text box to specify

the range within which the brush characteristic can vary. For example, when the Diameter value is 15 and the Variation value is 5, the diameter can be 10, or 20, or any value in between.

Pressure Varies in angle, roundness, or diameter based on the pressure of a drawing stylus. This option is most

useful when used with Diameter. It is available only if you have a graphics tablet. Enter a value in the Variation text box to specify how much more or less the original value the brush characteristic will vary. For example, when the Roundness value is 75% and the Variation value is 25%, the lightest stroke is 50% and the heaviest stroke is 100%. The lighter the pressure, the more angular the brush stroke.

Stylus Wheel Varies in diameter based on manipulation of the stylus wheel.

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User Guide

Tilt Varies in angle, roundness, or diameter based on the tilt of a drawing stylus. This option is most useful when

used with Roundness. It is available only if you have a graphics tablet that can detect the direction in which the pen is tilted.

Bearing Varies in angle, roundness, or diameter based on the pressure of a drawing stylus. This option is most useful

when used to control the angle of calligraphic brushes, especially when you’re using the brush like a paintbrush. It is available only if you have a graphics tablet that can detect how close to vertical the pen is.

Rotation Varies in angle, roundness, or diameter based on how the drawing stylus pen tip is rotated. This option is

most useful when used to control the angle of calligraphic brushes, especially when you’re using the brush like a flat pen. It is available only if you have a graphics tablet that can detect this type of rotation.

Split a path

You can split a path, graphics frame, or empty text frame at any anchor point or along any segment. When you split a path, keep the following in mind:

• If you want to split a closed path into two open paths, you must slice in two places along the path. If you slice a

closed path only once, you get a single path with a gap in it.

• Any paths resulting from a split inherit the path settings of the original path, such as stroke weight and fill color.

You may need to reset stroke alignment from inside to outside.

1 (Optional) Select the path to see its current anchor points.

2 Do one of the following:

• Select the Scissors tool and click the path where you want to split it. When you split the path in the middle of a

segment, the two new endpoints appear on top of the other, and one endpoint is selected.

• Select the anchor point where you want to split the path, and then click the Cut Path At Selected Anchor Points

button in the Control panel. When you split the path at an anchor point, a new anchor point appears on top of the original anchor point, and one anchor point is selected.

3 Use the Direct Selection tool to adjust the new anchor point or path segment.

Note: You can divide an object into separate component faces by using the Knife tool (a face is an area undivided by a line segment).

See also

“Cut objects with the Knife tool” on page 236

Tracing artwork

Trace artwork

If you want to base a new drawing on an existing piece of artwork, you can trace it. For example, you can create a graphic based on a pencil sketch drawn on paper or on a raster image saved in another graphics program by bringing the graphic into Illustrator and tracing over it.

The easiest way to trace artwork is to open or place a file into Illustrator and automatically trace the artwork with the Live Trace command. You can control the level of detail and how the tracing is filled. When you are satisfied with the tracing results, you can convert the tracing to vector paths or a Live Paint object.

ILLUSTRATOR CS3

User Guide

Before and after tracing a bitmap image with the Live Trace command

For a video on using Live Trace, see www.adobe.com/go/vid0043.

Automatically trace artwork

Open or place a file to use as the source image for the tracing.

2 With the source image selected, do one of the following:

• To trace the image using a tracing preset, click the Tracing Presets and Options button in the Control panel,

and select a preset.

• To trace the image using the default tracing options, click Live Trace in the Control panel, or choose Object > Live

Tr ac e > Make.

• To set tracing options before you trace the image, click the Tracing Presets and Options button in the Control

panel, and choose Tracing Options. Alternatively, choose Object > Live Trace > Tracing Options. Set tracing options, and then click Trace.

3 (Optional) Adjust the results of the tracing.

4 (Optional) Convert the tracing to paths or to a Live Paint object.

Use template layers to manually trace artwork

Template layers are locked, nonprinting layers that you can use to manually trace images. Template layers are dimmed by 50% so you can easily see any paths you draw in front of the layer. You can create template layers when you place an image or from existing layers.

1 Do one of the following:

• To place an image as a template layer for tracing, choose File > Place, select the EPS, PDF, or raster image file you

want to trace, select Template, and then click Place. A new template layer appears below the current layer in the panel.

• To trace an existing image, make sure the image is in its own layer, double-click the layer in the Layers panel, select

Template, and click OK; alternatively, select the layer and choose Template from the panel menu.

The eye icon is replaced by the template icon , and the layer is locked.

2 Trace over the file using the Pen tool or the Pencil tool.

3 To hide the template layer, choose View > Hide Template. Choose View > Show Template layer to see it again.

4 To turn a template layer into a regular layer, double-click the template layer in the Layers panel, deselect Template,

and click OK.

Tracing options

Preset Specifies a tracing preset.

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Mode Specifies a color mode for the tracing result.

Threshold Specifies a value for generating a black and white tracing result from the original image. All pixels lighter

than the Threshold value are converted to white, all pixels darker than the Threshold value are converted to black. (This option is available only when Mode is set to Black and White.)

Panel Specifies a panel for generating a color or grayscale tracing from the original image. (This option is available

only when Mode is set to Color or Grayscale.)

To let Illustrator determine the colors in the tracing, select Automatic. To use a custom panel for the tracing, select a swatch library name. (The swatch library must be open in order for it to appear in the panel menu.)

Max Colors Specifies a maximum number of colors to use in a color or grayscale tracing result. (This option is

available only when Mode is set to Color or Grayscale and when panel is set to Automatic.)

Output To Swatches Creates a new swatch in the Swatches panel for each color in the tracing result.

Blur Blurs the original image before generating the tracing result. Select this option to reduce small artifacts and

smooth jagged edges in the tracing result.

Resample Resamples the original image to the specified resolution before generating the tracing result. This option

is useful for speeding up the tracing process for large images but can yield degraded results.

Note: The resample resolution is not saved when you create a preset.

Fills Creates filled regions in the tracing result.

Strokes Creates stroked paths in the tracing result.

Max Stroke Weight Specifies the maximum width of features in the original image that can be stroked. Features

larger than the maximum width become outlined areas in the tracing result.

Min Stroke Length Specifies the minimum length of features in the original image that can be stroked. Features

smaller than the minimum length are omitted from the tracing result.

Path Fitting Controls the distance between the traced shape and the original pixel shape. Lower values create a

tighter path fitting; higher values create a looser path fitting.

Minimum Area Specifies the smallest feature in the original image that will be traced. For example, a value of 4

specifies that features smaller than 2 pixels wide by 2 pixels high will be omitted from the tracing result.

Corner Angle Specifies the sharpness of a turn in the original image that is considered a corner anchor point in the

tracing result. For more information on the difference between a corner anchor point and a smooth anchor point, see “About paths” on page 52.

Raster Specifies how to display the bitmap component of the tracing object. This view setting is not saved as part of

the tracing preset.

Vec tor Specifies how to display the tracing result. This view setting is not saved as part of the tracing preset.

Select Preview in the Tracing Options dialog box to preview the result of the current settings.To set the default tracing

options, deselect all objects before you open the Tracing Options dialog box. When you’re finished setting options, click Set Default.

For a video on using Live Trace, see www.adobe.com/go/vid0043. For a tutorial on tweaking Live Trace options for the best possible results, see www.adobe.com/go/learn_ai_tutorials_livetrace.

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Change the display of a tracing object

A tracing object is made up of two components: the original source image and the tracing result (which is the vector artwork). By default, only the tracing result is visible. However, you can change the display of both the original image and the tracing result to best suit your needs.

1 Select the tracing object.

By default, all tracing objects are named “Tracing” in the Layers panel.

2 Do any of the following:

• To change the display of the tracing result, click the Vector View button in the Control panel or choose

Object > Live Trace, and select a display option: No Tracing Result, Tracing Result, Outlines, or Outlines With Tracing.

• To change the display of the source image, click the Raster View button in the Control panel or choose

Object > Live Trace, and select a display option: No Image, Original Image, Adjusted Image (which displays the image with any adjustments that are applied during tracing), or Transparent Image.

Note: In order to view the source image, you must first change the Vector View to No Tracing Result or Outlines.

Adjust the results of a tracing

Once you create a tracing object, you can adjust the results at any time.

1 Select the tracing object.

2 Do any of the following:

• Set basic options in the Control panel.

• Click the Tracing Options Dialog button in the Control panel to view all tracing options. Alternatively, choose

Object > Live Trace > Tracing Options. Adjust the options, and click Trace.

Use tracing presets to quickly change the results of a tracing.

Specify the colors used for tracing

1 Create a swatch library that contains the colors you want to use in the tracing.

2 Make sure that the swatch library is open, and click the Tracing Options Dialog button in the Control panel.

Alternatively, choose Object > Live Trace > Tracing Options.

3 Select the swatch library name from the panel menu, and click Trace.

See also

“Create swatch libraries” on page 109

Use a tracing preset

Tracing presets provide pre-specified tracing options for specific types of artwork. For example, if you’re tracing an image that you plan to use as a technical drawing, choose the Technical Drawing preset. All the tracing options change for optimal tracing of a technical drawing: color is set to black and white, blur is set to 0 px, stroke width is limited to 3 px, and so on.

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Specify a preset

• Choose Object > Live Trace > Tracing Options. (Alternatively, select a tracing object, and click the Tracing

Options Dialog button in the Control panel.) Set tracing options for the preset, and click Save Preset. Enter a name for the preset, and click OK.

• Choose Edit > Tracing Presets. Click New, set tracing options for the preset, and click Done.

To base a new preset on an existing preset, select the preset, and click New.

Edit or delete a preset

Choose Edit > Tracing Presets.

2 select the preset, and click Edit or Delete.

Note: You can’t edit or delete the default presets (default presets appear in brackets [ ]). However, you can make an editable copy of a default preset by selecting the preset and clicking New.

Share presets with other users

Choose Edit > Tracing Presets.

2 Do one of the following:

• Click Export to save your presets to a file.

• Click Import to load presets from a file.

User Guide

Convert a tracing object to a Live Paint object

When you are satisfied with the results of a tracing, you can convert the tracing object to paths or to a Live Paint object. This final step allows you to work with the tracing as you do other vector artwork. Once you convert the tracing object, you can no longer adjust the tracing options.

1 Select the tracing object.

2 Do one of the following:

• To convert the tracing to paths, click Expand in the Control panel or choose Object > Live Trace > Expand. Use

this method if you want to work with the components of the traced artwork as individual objects. The resulting paths are grouped together.

• To convert the tracing to paths while preserving the current display options, choose Object > Live Trace > Expand

As Viewed. For example, if the display options are set to Outlines for the tracing result, then the expanded paths will be outlines only (rather than filled and stroked). In addition, a snapshot of the tracing with its current display options is preserved and grouped with the expanded paths. Use this method if you want to preserve the tracing image as a guide for the expanded paths.

• To convert the tracing to a Live Paint object, click Live Paint in the Control panel or choose Object > Live Trace >

Convert To Live Paint. Use this method if you want to apply fills and strokes to the traced artwork using the Live Paint Bucket tool.

To create a tracing and convert the tracing object in one step, choose Object > Live Trace > Make And Expand or

Object > Live Trace > Make And Convert To Live Paint.

For a video on tracing, see www.adobe.com/go/vid0043.

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See also

“About paths” on page 52

“About Live Paint” on page 158

Release a tracing object

If you want to discard a tracing but keep the original placed image, you can release the tracing object.

1 Select the tracing object.

2 Choose Object > Live Trace > Release.

Symbols

About symbols

A symbol is an art object that you can reuse in a document. For example, if you create a symbol from a flower, you can then add instances of that symbol multiple times to your artwork without actually adding the complex art multiple times. Each symbol instance is linked to the symbol in the Symbols panel or to a symbols library. Using symbols can save you time and greatly reduce file size.

Symbols also provide excellent support for SWF and SVG export. When you export to Flash, you can set the symbol type to MovieClip. Once in Flash, you can choose another type if necessary. You can also specify 9-slice scaling in Illustrator so that the movie clips scale appropriately when used for user interface components.

Note: For information on using symbols in Flash, see Flash Help. For a video on using symbols effectively between Illustrator and Flash, see www.adobe.com/go/vid0198.

After you place a symbol, you can edit the symbol’s instances on the artboard and, if you want, redefine the original symbol with the edits. The symbolism tools let you add and manipulate multiple symbol instances at once.

Artwork with symbol instances

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User Guide

Symbols panel overview

You can use the Symbols panel (Window > Symbols) or the Control panel to manage the symbols for a document. The Symbols panel contains a variety of preset symbols. You can add symbols from symbol libraries or libraries that you create.

Change the display of symbols in the panel

• Select a view option from the panel menu: Thumbnail View to display thumbnails, Small List View to display a list

of named symbols with a small thumbnail, or Large List View to display a list of named symbols along with a large thumbnail.

• Drag the symbol to a different position. When a black line appears in the desired position, release the mouse

button.

• Select Sort By Name from the panel menu to list the symbols in alphabetical order.

Duplicate a symbol in the panel

Duplicating or copying a symbol in the Symbols panel is an easy way to create a new symbol based on an existing symbol.

❖ Do one of the following:

• Select a symbol in the Symbols panel and choose Duplicate Symbol from the panel menu, or drag the symbol onto

the New Symbol button.

• Select a symbol instance and click Duplicate in the Control panel.

Note: If you want to duplicate a symbol instance on the artboard, for example, if you’ve scaled and rotated it and want to add another instance with the same scale and rotation, duplicate the instance. (See “Work with symbol instances” on page 85

Rename a symbol

To rename the symbol, select the symbol in the Symbols panel, choose Symbol Options from the panel menu, and

then type a new name in the Symbol Options dialog box.

2 To rename a symbol instance, select a symbol instance in the artwork, and then type a new name in the Instance

Name text box in the Control panel.

Place a symbol

1 Select a symbol in the Symbols panel or a symbol library.

2 Do one of the following:

• Click the Place Symbol Instance button in the Symbols panel to place the instance in the center of the

artboard.

• Drag the symbol to the artboard where you want it to appear.

• Choose Place Symbol Instance from the Symbols panel menu.

Note: A single symbol placed anywhere in your artwork (as opposed to existing only in the panel) is called an instance.

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Create a symbol

You can create symbols from most Illustrator objects, including paths, compound paths, text objects, raster images, mesh objects, and groups of objects. However, you cannot create a symbol from linked art or some groups, such as groups of graphs.

1 Select the artwork you want to use as a symbol.

2 Do one of the following:

• Click the New Symbol button in the Symbols panel.

• Drag the artwork to the Symbols panel.

• Choose New Symbol from the panel menu.

Note: By default, the selected artwork becomes an instance of the new symbol. If you don’t want the artwork to become an instance, press Shift as you create the new symbol. In addition, if you don’t want the New Symbol dialog box to open when you create a new symbol, press Alt (Windows) or Option (Mac OS) as you create the symbol and Illustrator will use a default name for the symbol, such as New Symbol 1.

3 In the Symbol Options dialog box, type a name for the symbol.

4 If you plan to export the symbols to Flash, do the following:

• Select Movie Clip for type. Movie Clip is the default symbol type in Flash.

• Specify a location on the Flash Registration grid where you want to set the symbol’s anchor point. The location of

the anchor point affects the position of the symbol within the screen coordinates.

• Select Enable Guides For 9-Slice Scaling if you want to utilize 9-Slice scaling in Flash.

Note: For a video on using symbols effectively between Illustrator and Flash, see www.adobe.com/go/vid0198.

Use 9-slice scaling

You can use 9-slice scaling (scale-9) to specify component-style scaling for movie clip symbols destined for export to Flash. This type of scaling lets you create movie clip symbols that scale appropriately for use as user interface components, as opposed to the type of scaling typically applied to graphics and design elements.

The movie clip is conceptually divided into nine sections with a grid-like overlay, and each of the nine areas is scaled independently. To maintain the visual integrity of the movie clip, corners are not scaled, while the remaining areas of the image are scaled (as opposed to being stretched) larger or smaller, as needed.

The 9-slice scaling grid is visible only in isolation mode. By default, the grid’s guides are placed at 25% (or 1/4) of the symbol’s width and height from the edge of the symbol, and appear as dotted lines superimposed on the symbol.

Note: For more information on using 9-slice scaling in Flash, see Flash Help. For videos on 9-slice scaling and using 9-slice scaling in Illustrator and Flash, see www.adobe.com/go/vid0204 and www.adobe.com/go/vid0205.

Enable 9-slice scaling

Select the symbol on the artboard or in the Symbols panel and choose Symbol Options from the panel menu.

2 In the Symbol Options dialog box, select Movie Clip for Type, and then select Enable Guides For 9-Slice Scaling.

Note: You can also enable this option in the Symbol Options dialog box when creating a new symbol.

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Edit the 9-slice scaling grid for a symbol

To edit the scaling grid for a symbol, open the symbol in isolation mode by doing one of the following:

• Double-click the symbol in the Symbols panel.

• Select the symbol in the Symbols panel and choose Edit Symbol from the panel menu.

2 To edit the scaling grid for a symbol instance, open the instance in isolation mode by doing one of the following:

• Double-click the symbol instance on the artboard.

• Select the symbol instance on the artboard and click Edit Contents in the Control panel.

3 Move the pointer over any of the four guides. When the pointer changes to the move pointer , drag the guide.

Note: Scaling still occurs if you move a guide away from the symbol boundaries (thus dividing the symbol into less than 9 slices). The symbol scales according to the slice in which it falls.

4 Exit isolation mode by clicking the Exit Isolation Mode button at the upper-left corner of the artboard or in

the Control panel .

Work with symbol instances

You can move, scale, rotate, shear (or skew), or reflect symbol instances in the same way you can other objects. You can also perform any operation from the Transparency, Appearance, and Graphic Styles panels and apply any effect from the Effect menu. However, if you want to modify the individual components of a symbol instance, you must first expand it. Expanding breaks the link between the symbol and the symbol instance and converts the instance to regular artwork.

For videos on selecting and aligning objects, including symbols, see www.adobe.com/go/vid0034 and

www.adobe.com/go/vid0035.

See also

“Expand objects” on page 202

Modify a symbol instance

After you modify a symbol instance, you can redefine the original symbol in the Symbols panel. When you redefine a symbol, all existing symbol instances take on the new definition.

1 Select an instance of the symbol.

2 Click the Break Link To Symbol button in the Symbols panel or Control panel.

3 Edit the artwork.

4 (Optional) do one of the following:

• To replace the parent symbol with this edited version, Alt-drag (Windows) or Option-drag (Mac OS) the

modified symbol on top of the old symbol in the Symbols panel. The symbol is replaced in the Symbols panel and is updated in the current file.

• To create a new symbol with this edited version, drag the modified symbol to the Symbols panel or click New

Symbol in the Symbols panel.

Expand a symbol instance

Select one or more symbol instances.

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User Guide

2 Do one of the following:

• Click the Break Link To Symbol button in the Symbols panel or Control panel, or choose Break Link To

Symbol from the panel menu.

• Choose Object > Expand, and then click OK in the Expand dialog box.

Illustrator places the components of the symbol instance in a group. Once expanded, you can edit the artwork.

Duplicate a symbol instance on the artboard

If you’ve scaled, rotated, sheared (or skewed), or reflected a symbol instance and you want to add more instances with exactly those same modifications, duplicate the modified instance.

1 Select the symbol instance.

2 Do one of the following:

• Alt-drag (Windows) or Option-drag (Mac OS) the symbol instance to another location on the artboard.

• Copy and paste the symbol instance.

Note: If you want to duplicate a symbol in the Symbols panel, for example to create a new symbol based on an existing symbol, duplicate the symbol, not the instance. (See “Symbols panel overview” on page 83.)

Replace a symbol instance with a different symbol

Select the symbol instance on the artboard.

2 Do one of the following:

• Choose a new symbol from the Replace menu in the Control panel.

• Select a new symbol in the Symbols panel, and choose Replace Symbol from the Symbols panel menu.

Select all instances of a symbol in the document

❖ Select a symbol in the Symbols panel, and then choose Select All Instances from the panel menu.

Edit or redefine a symbol

You can edit a symbol by changing the symbol’s artwork or you can redefine the symbol by replacing it with new artwork. Editing and redefining a symbol changes the appearance of the symbol in the Symbols panel, as well as all instances of the symbol on the artboard.

Edit a symbol

Do one of the following to open the symbol in isolation mode:

• Select an instance of the symbol and click Edit Symbol in the Control panel. When the Alert box opens, click OK.

• Double-click an instance of the symbol. When the Alert box opens, click OK.

• Double-click a symbol in the Symbols panel. A temporary instance of the symbol appears in the center of the

artboard.

2 Edit the artwork.

3 Exit isolation mode by clicking the Exit Isolation Mode button at the upper-left corner of the artboard or in

the Control panel .

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Redefine a symbol with different artwork

Select the artwork that you want to use to redefine an existing symbol. Make sure to select original artwork and

not a symbol instance.

2 In the Symbols panel, click the symbol you want to redefine, and choose Redefine Symbol from the panel menu.

Note: The selected artwork automatically becomes an instance of the symbol. If you don’t want the selected artwork to become a symbol instance, press Shift as you choose Redefine Symbol from the panel menu.

Symbol libraries

Symbol libraries are collections of preset symbols. When you open a symbol library, it appears in a new panel (not the Symbols panel).

You select, sort, and view items in a symbol library the same as you do in the Symbols panel. However, you can’t add items to, delete items from, or edit the items in symbol libraries.

Open symbol libraries

❖ Do one of the following:

• Choose Window > Symbol Libraries > [symbol].

• Choose Open Symbol Library in the Symbols panel menu, and choose a library from the list that appears.

• Click the Symbols Library Menu button on the Symbols panel, and choose a library from the list that appears.

To automatically open a library when you start Illustrator, choose Persistent from the library’s panel menu.

Move symbols from a library into the Symbols panel

A symbol is automatically added to the Symbols panel whenever you use it in a document.

❖ Click a symbol in a library.

Create symbol libraries

Add the symbols you want in the library to the Symbols panel, and delete any symbols you don’t want.

To select all symbols that aren’t used in a document, choose Select All Unused from the Symbols panel menu.

2 Choose Save Symbol Library from the Symbols panel menu.

3 Save the new library to the default Symbols folder. The library name will automatically appear in the Symbol

Libraries submenu and the Open Symbol Library submenu.

If you save the library to a different folder, you can open it by choosing Open Symbol Library > Other Library from the Symbols panel menu. Once you open it using this process, it will appear in the Symbol Libraries submenu with the other libraries.

Import a symbol library from another document

Choose Window > Symbol Libraries > Other Library or choose Open Symbol Library > Other Library from the

Symbols panel menu.

2 Select the file from which you want to import symbols, and click Open.

The symbols appear in a symbol library panel (not the Symbols panel).

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User Guide

Symbolism tools and symbol sets

About symbol sets

A symbol set is a group of symbol instances that you create with the Symbol Sprayer tool. You can create mixed sets of symbol instances by using the Symbol Sprayer tool with one symbol and then using it again with another symbol.

Artwork created with the symbolism tools

As you work with symbol sets, keep in mind that the symbolism tools affect only the symbol or symbols selected in the Symbols panel. For example, if you create a mixed symbol instance set that represents a meadow with grass and flowers, you can change the orientation of just the grass by selecting the grass symbol in the Symbols panel and then using the Symbol Spinner tool. To change the size of both the grass and the flowers, select both symbols in the Symbols panel and then use the Symbol Sizer tool.

Note: When you select a mixed symbol set on the artboard, the symbol instance most recently added to the set is automatically selected in the Symbols panel.

Create symbol sets

The Symbol Sprayer acts like a particle sprayer—letting you add a large number of identical objects to the artboard at one time. For example, use the symbol sprayer to add hundreds of grass blades, wildflowers, bees, or snowflakes.

See also

“Symbolism tool gallery” on page 30

“Symbolism tool options” on page 91

Spray sets of symbol instances onto artwork

Select a symbol in the Symbols panel, and then select the Symbol Sprayer tool .

2 Click or drag where you want the symbol instances to appear.

Add or delete symbol instances from an existing set

Select the existing symbol set.

2 Select the Symbol Sprayer tool and a symbol in the Symbols panel.

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User Guide

3 Do one of the following:

• To add symbol instances, click or drag where you want the new instances to appear.

• To delete symbol instances, hold down Alt (Windows) or Option (Mac OS) as you click or drag where you want

to remove instances.

Modify symbol instances in a symbol set

You use the symbolism tools to modify multiple symbol instances in a set. For example, you can disperse instances over a larger area using the Symbol Scruncher tool or gradually tinting the color of instances to make them look more realistic.

Although you can use symbolism tools on individual symbol instances, they are most effective when used on symbol sets. When working with individual symbol instances, most of these tasks are easily accomplished using the tools and commands you use on regular objects.

See also

“Symbolism tool gallery” on page 30

“Symbolism tool options” on page 91

Change stacking order of symbol instances in a set

Select the Symbol Shifter tool .

2 Do one of the following:

• To move symbol instances, drag in the direction you want the symbol instances to move.

• To bring symbol instances forward, Shift-click the symbol instance.

• To send symbol instances backward, hold down Alt (Windows) or Option (Mac OS) and Shift-click the symbol

instance.

Gather or scatter symbol instances

Select the Symbol Scruncher tool .

2 Do one of the following:

• Click or drag in the area where you want to pull the symbol instances toward each other.

• Hold down Alt (Windows) or Option (Mac OS), and click or drag in the area where you want to push symbol

instances away from each other.

Resize symbol instances

Select the Symbol Sizer tool .

2 Do one of the following:

• Click or drag in the set where you want to increase the size of the symbol instances.

• Hold down Alt (Windows) or Option (Mac OS), and click or drag where you want to decrease the size of the

symbol instances.

• Hold down Shift as you click or drag to preserve the density of the symbol instances while resizing.

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User Guide

Rotate symbol instances

Select the Symbol Spinner tool .

2 Click or drag in the direction you want the symbol instances to orient.

Stain symbol instances

Staining a symbol instance changes the hue toward the tint color, while preserving the original luminosity. (It works in the same way as the Tints and Shades colorization method of tinting brushes.) This method uses the luminosity of the original color and the hue of the colorization color to generate the resulting color. Consequently, colors with very high or very low luminosity change very little; black or white objects don’t change at all.

To achieve a method of colorization that will also affect black and white objects, use the Symbol Styler tool with a

graphic style that uses the desired fill color.

1 In the Color panel, select the fill color that you want to use as the colorization color.

2 Select the Symbol Stainer tool and do one of the following:

• Click or drag over the symbol instances you want to stain with the colorization color. The amount of colorization

gradually increases, and the symbol instance’s color gradually changes to the colorization color.

• Hold down Alt (Windows) or Option (Mac OS) as you click or drag to decrease the colorization amount and

reveal more of the original symbol color.

• Hold down Shift as you click or drag to keep the colorization amount constant, while gradually changing the color

of the symbol instances to the colorization color.

Note: Using the Symbol Stainer tool results in increased file size and decreased performance. When memory or exported Flash/SVG file size is a concern, do not use this tool.

Adjust transparency of symbol instances

Select the Symbol Screener tool .

2 Do one of the following:

• Click or drag where you want to increase the symbol’s transparency.

• Hold down Alt (Windows) or Option (Mac OS), and click or drag where you want to decrease the symbol’s trans-

parency.

Apply a graphic style to symbol instances

The Symbol Styler tool lets you apply or remove a graphic style from a symbol instance. You can control the amount and location of the application. For example, you can apply a style gradually so that some symbol instances display the style at full strength and others display the style at partial strength.

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Graphic style applied at full strength (top) compared to graphic style applied at varying strengths (bottom)

You can switch to the Symbol Styler tool when using any other symbolism tool by clicking a style in the Graphic Styles

panel.

User Guide

1 Select the Symbol Styler tool .

2 Select a style in the Graphic Styles panel, and do one of the following:

• Click or drag where you want to apply the style to the symbol set. The amount of style applied to the symbol

instances increases, and the style gradually changes.

• Hold down Alt (Windows) or Option (Mac OS) as you click or drag to decrease the style amount and reveal more

of the original, unstyled symbol.

• Hold down Shift as you click or drag to keep the amount of style constant, while gradually changing the symbol

instance style to the selected style.

Note: It is very important to perform steps 1 and 2 in the specified order. If you select a style while a tool other than the symbolism tool is selected, the style will apply immediately to the entire selected symbol instance set.

Symbolism tool options

You access symbolism tool options by double-clicking a symbolism tool in the Tools panel.

General options, such as diameter, intensity, and density, appear at the top of the dialog box. Tool-specific options appear at the bottom of the dialog box. To switch to options for a different tool, click a tool icon in the dialog box.

General options The General options appear at the top of the Symbolism Tools Options dialog box regardless of

which symbolism tool is selected.

• Diameter Specifies the tool’s brush size.

At any time while using a symbolism tool, press [ to decrease the diameter or ] to increase it.

• Intensity Specifies the rate of change (higher values equal faster changes), or select Use Pressure Pen to use the

input from a tablet or pen instead of the Intensity value.

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User Guide

• Symbol Set Density Specifies an attraction value for the symbol set (higher values result in more densely packed

symbol instances). This setting applies to an entire symbol set. If a symbol set is selected, the density changes for all symbol instances in the set, not just newly created instances.

• Method Specifies how the Symbol Scruncher, Sizer, Spinner, Stainer, Screener, and Styler tools adjust symbol

instances.

Select User Defined to gradually adjust symbols in relation to the position of the cursor. Select Random to modify the symbols randomly in the area under the cursor. Select Average to gradually smooth out the symbol values.

• Show Brush Size And Intensity Displays the size as you use the tool.

Symbol Sprayer options The Symbol Sprayer options (Scrunch, Size, Spin, Screen, Stain, and Style) appear under the

General options in the Symbolism Tools Options dialog box only when the Symbol Sprayer tool is selected, and control how new symbol instances are added to symbol sets. Each of these offers two choices:

• Average To add a new symbol with the average value of existing symbol instances within the brush radius. For

example, an instance added to an area where the average existing symbol instance is 50% transparent will be 50% transparent; an instance added to an area with no instances will be opaque.

Note: The Average setting only takes into account other instances within the Symbol Sprayer tool’s brush radius, which you set using the Diameter option. To see the radius as you work, select Show Brush Size and Intensity.

• User Defined To apply specific preset values for each parameter: Scrunch (density) is based on the original symbol

size; Size uses the original symbol size; Spin uses the mouse direction (or no orientation if the mouse doesn’t move); Screen uses 100% opacity; Stain uses the current fill color and full tint amount; Style uses the current style.

Symbol Sizer options The Symbol Sizer options appear under the General options in the Symbolism Tools Options

dialog box only when the Symbol Sizer tool is selected.

• Proportional Resizing Keep each symbol instance shape uniform as you resize.

• Resizing Affects Density Move symbol instances away from each other when they are scaled up and move them

toward each other when they are scaled down.

Chapter 4: Color

Applying colors to artwork is a common Adobe Illustrator task, and one that requires some knowledge of color models and color modes. When applying color to artwork, keep in mind the final medium in which the artwork will be published, so that you can use the correct color model and color definitions. Experimenting and applying color is easy using the feature-rich Swatches panel, Color Guide panel, and Live Color dialog box in Illustrator.

About color

About colors in digital graphics

We use color models to describe the colors we see and work with in digital graphics. Each color model, such as RGB, CMYK, or HSB, represents a different method for describing and classifying color. Color models use numeric values to represent the visible spectrum of color. A color space is a variant of a color model and has a specific gamut (range) of colors. For example, within the RGB color model are a number of color spaces: Adobe® RGB, sRGB, and Apple® RGB. While each of these color spaces defines color using the same three axes (R, G, and different.

B), their gamuts are

When you work with the colors in a graphic, you are actually adjusting numerical values in the file. It’s easy to think of a number as a color, but these numerical values are not absolute colors in themselves—they only have a color meaning within the color space of the device that is producing the color.

Because each device has its own color space, it can reproduce colors only in its gamut. When an image moves from one device to another, image colors may change because each device interprets the RGB or CMYK values according to its own color space. For example, it is impossible for all the colors viewed on a monitor to be identically matched in a print from a desktop printer. A printer operates in a CMYK color space, and a monitor operates in an RGB color space. Their gamuts are different. Some colors produced by inks cannot be displayed on a monitor, and some colors that can be displayed on a monitor cannot be reproduced using inks on paper.

Even though it is impossible to perfectly match all colors on different devices, you can use color management to ensure that most colors are the same or similar enough so they appear consistent.

See also

“About color management in Adobe applications” on page 130

“Synchronize color settings across Adobe applications” on page 132

RGB

A large percentage of the visible spectrum can be represented by mixing red, green, and blue (RGB) colored light in various proportions and intensities. Where the colors overlap, they create cyan, magenta, and yellow.

RGB colors are called additive colors because you create white by adding R, G, and B together—that is, all light is reflected back to the eye. Additive colors are used for lighting, television, and computer monitors. Your monitor, for example, creates color by emitting light through red, green, and blue phosphors.

ILLUSTRATOR CS3

User Guide

Additive colors (RGB) R. Red G. Green B. Blue

You can work with color values using the RGB color mode, which is based on the RGB color model. In RGB mode, each of the RGB components can use a value ranging from 0 (black) to 255 (white). For example, a bright red color might have an R value of 246, a G value of 20, and a B value of 50. When the values of all three components are equal, the result is a shade of gray. When the value of all components is 255, the result is pure white; when all components have values of 0, the result is pure black.

Illustrator also includes a modified RGB color mode called Web Safe RGB, which includes only those RGB colors that are appropriate for use on the web.

See also

“Change the color mode of a document” on page 95

CMYK

Whereas the RGB model depends on a light source to create color, the CMYK model is based on the light-absorbing quality of ink printed on paper. As that is not absorbed is reflected back to your eye.

Combining pure cyan (C), magenta (M), and yellow (Y) pigments would result in black by absorbing, or subtracting, all colors. For this reason they are called subtractive colors. Black (K) ink is added for better shadow density. (The letter K came into use because black is the “key” color for registering other colors, and because the letter B also stands for blue.) Combining these inks to reproduce color is called four-color process printing.

C M Y K

Subtractive colors (CMYK) C. Cyan M. Magenta Y. Ye ll o w K. Black

white light strikes translucent inks, a portion of the spectrum is absorbed. Color

Adobe Illustrator CS3 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Contents

Chapter 1: Getting started

Installation

Requirements

Install the software

Activate the software

Register

Read Me

Adobe Help

Adobe Help resources

Using Help in the product

Resources

Adobe Video Workshop

Illustrator CS3 videos

Extras

Bridge Home

Adobe Design Center

Adobe Developer Center

Customer support

Downloads

Adobe Labs

User communities

What’s new

Superior design features

Better integration

Enhanced workplace efficiency

Advanced drawing tools and controls

Chapter 2: Work area

Work area basics

Workspace overview

About screen modes

Using the status bar

Enter values in panels and dialog boxes

Control panel overview

Customizing the workspace

Customize the workspace

Rename or duplicate a workspace

Save, delete, and switch between workspaces

Tools

Tools panel overview

Select a tool

Change tool pointers

Selection tool gallery

Drawing tool gallery

Type tool gallery

Painting tool gallery

Reshaping tool gallery

Symbolism tool gallery

Graph tool gallery

Slicing and cutting tool gallery

Moving and zooming tool gallery

Files and templates

About new document profiles

Create new documents

About templates

Create a new template

Open a file

Browse for files using Adobe Bridge

Adobe Version Cue

Cropping artwork

Create, edit, and delete crop areas

Use crop area rulers

Crop area options

Specify how to crop artwork for printing

Specify crop marks for trimming or aligning

Viewing artwork

Artboard overview

Change the size and color of the artboard

About page tiling

Zoom in or out

Move the view area

Navigator panel overview

View artwork as outlines

Use multiple windows and views

Previewing artwork in its final output medium

Rulers, grids, and guides