Adobe Illustrator CS4 User Manual

Using

ADOBE® ILLUSTRATOR® CS4

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

The content of this guide is furnished for informational use only, is subject to change without notice, and should not be construed as a commitment by Adobe Systems 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.

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Adobe, the Adobe logo, Adobe Garamond, Acrobat, ActionScript, After Effects, Caflisch Script, Creative Suite, Dreamweaver, Fireworks, Flash, Flex, GoLive, Illustrator, InCopy, InDesign, Kuler, PostScript, Photoshop, Reader, Version Cue, are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries.

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This 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 Incorporated to distribute for use only in combination with Adobe Illustrator. PANTONE Color Data and/or Software shall not be copied onto another disk or into memory unless as part of the execution of Adobe Illustrator software.

Software is produced under DIC's copyrights of color-data-base derived from Sample Books.

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 Linguistic Technology. ©Copyright 1990 Merriam-Webster Inc. ©Copyright 1990 All rights reserved. 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 Technology 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 reserved. 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. Government end users (a) only as Commercial Items and (b) with only those rights as are granted to all other end users pursuant to the terms and conditions herein. Unpublished-rights reserved under the copyright laws of the United States. Adobe agrees to comply with all applicable equal opportunity laws including, if appropriate, the provisions of Executive Order 11246, as amended, Section 402 of the Vietnam Era Veterans Readjustment Assistance Act of 1974 (38 USC 4212), and Section 503 of the 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: Resources

Activation and registration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Help and support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Services, downloads, and extras . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Illustrator video tutorials . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

What’s new . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Chapter 2: Workspace

Workspace basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Customizing the workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Tool galleries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Files and templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Manage connections to web services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Working with ConnectNow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Using multiple artboards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Viewing artwork . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Rulers, grids, guides, and crop marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Setting preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Recovery, undo, and automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Chapter 3: Drawing

Drawing basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

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

Drawing with the Pencil tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

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

Editing paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Tracing artwork with Live Trace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Symbolism tools and symbol sets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Drawing flares . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Chapter 4: Color

About color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

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

Using and creating swatches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

Working with color groups (harmonies) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Kuler panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

Adjusting colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

Chapter 5: Color management

Understanding color management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Keeping colors consistent . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132

Color-managing imported images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136

USING ADOBE ILLUSTRATOR CS4

Contents

Color-managing documents for online viewing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Proofing colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138

Color-managing documents when printing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141

Working with color profiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143

Color settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148

Chapter 6: Painting

Painting with fills and strokes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

Live Paint groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161

Brushes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169

Transparency and blending modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177

Gradients . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184

Meshes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188

Patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191

Chapter 7: Selecting and arranging objects

Selecting objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197

Grouping and expanding objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206

Moving, aligning, and distributing objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207

Rotating and reflecting objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211

Using layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215

Locking, hiding, and deleting objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219

Stacking objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220

Duplicating objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221

Chapter 8: Reshaping objects

Transforming objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224

Scaling, shearing, and distorting objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226

Reshape using envelopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230

Combining objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233

Cutting and dividing objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240

Clipping masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241

Blending objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244

Reshaping objects with effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248

Creating 3D objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249

Chapter 9: Importing, exporting, and saving

Importing files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257

Importing bitmap images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261

Importing Adobe PDF files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263

Importing EPS, DCS, and AutoCAD files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264

Importing artwork from Photoshop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266

Saving artwork . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267

Exporting artwork . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273

Creating Adobe PDF files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281

Adobe PDF options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285

File information and metadata . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291

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Contents

Chapter 10: Type

Importing text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293

Creating text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294

Creating type on a path . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301

Scaling and rotating type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304

Spelling and language dictionaries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305

Fonts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307

Formatting type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310

Line and character spacing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318

Special characters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 320

Formatting paragraphs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323

Hyphenation and line breaks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327

Tabs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329

Character and paragraph styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332

Exporting text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334

Formatting Asian characters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336

Creating composite fonts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344

Updating text from Illustrator 10 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347

Chapter 11: Creating special effects

Appearance attributes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 349

Working with effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354

Summary of effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357

Drop shadows, glows, and feathering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363

Creating sketches and mosaics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365

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

Chapter 12: Web graphics

Best practices for creating web graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371

Slices and image maps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374

SVG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378

Creating animations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 381

Optimizing images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384

Web graphics optimization options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 389

Output settings for web graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 401

Chapter 13: Printing

Setting up documents for printing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 404

Printing color separations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 409

Printer’s marks and bleed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 412

PostScript printing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 414

Printing with color management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 416

Printing gradients, meshes, and color blends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 418

Printing and saving transparent artwork . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 421

Overprinting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 428

Trapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 429

Print presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 433

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Contents

Chapter 14: Automating tasks

Actions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 436

Scripts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 443

Data-driven graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 444

Chapter 15: Graphs

Creating graphs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 449

Formatting graphs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 453

Adding pictures and symbols to graphs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 458

Chapter 16: Keyboard shortcuts

Customizing keyboard shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 463

Default keyboard shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 464

Index ...............................................................................................................476

vii

Chapter 1: Resources

Before you begin working with your software, take a few moments to read an overview of activation and the many resources available to you. You have access to instructional videos, plug-ins, templates, user communities, seminars, tutorials, RSS feeds, and much more.

In addition, check out these how-to guides to see examples of how leading designers use Illustrator to create amazing artwork:

Activation and registration

Help with installation

For help with installation issues, see the Installation Support Center at www.adobe.com/go/cs4install.

License activation

During the installation process, your Adobe software contacts Adobe to complete the license activation process. No personal data is transmitted. For more information on product activation, visit the Adobe website at

www.adobe.com/go/activation.

www.adobe.com/go/learn_ai_tutorials_howtos_en.

A single-user retail license activation supports two computers. For example, you can install the product on a desktop computer at work and on a laptop computer at home. If you want to install the software on a third computer, first deactivate it on one of the other two computers. Choose Help

> Deactivate.

Register

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

software.

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

Adobe Product Improvement Program

After you use your Adobe software a certain number of times, a dialog box may appear asking whether you want to participate in the Adobe Product Improvement Program.

If you choose to participate, data about your use of Adobe software is sent to Adobe. No personal information is recorded or sent. The Adobe Product Improvement Program only collects information about which features and tools you use and how often you use them.

You can opt in to or out of the program at any time:

• To participate, choose Help > Adobe Product Improvement Program and click Yes, Participate.

• To stop participating, choose Help > Adobe Product Improvement Program and click No, Thank You.

USING ADOBE ILLUSTRATOR CS4

Resources

ReadMe

A ReadMe file for your software is available on-line and on the installation disc. Open the file to read important information about topics such as the following:

• System requirements

• Installation (including uninstalling the software)

• Activation and registration

• Font installation

• Troubleshooting

• Customer support

• Legal notices

Help and support

Community Help

Community Help is an integrated environment on Adobe.com that gives you access to community-generated content moderated by Adobe and industry experts. Comments from users help guide you to an answer.

Community Help draws on a number of resources, including:

• Videos, tutorials, tips and techniques, blogs, articles, and examples for designers and developers.

• Complete on-line product Help, which is updated regularly by the Adobe documentation team.

• All other content on Adobe.com, including knowledgebase articles, downloads and updates, Developer

Connection, and more.

Choose Help > product name Help in the application to access the Help and Support page, the portal to all of the Community Help content for your product. You can also use the Help search field in some Creative Suite 4 applications, or press F1 (Windows), to access Community Help for your product.

The sites searched by the default Community Help search engine are hand-selected and reviewed for quality by Adobe and Adobe Community Experts. Adobe experts also work to ensure that the top search results include a mixture of different kinds of content, including results from on-line product Help.

For more information on using Community Help, see http://help.adobe.com/en_US/CommunityHelp/.

For a video overview of Community Help, see www.adobe.com/go/lrvid4117_xp.

Product Help

Adobe provides a comprehensive user guide for each product in several formats, including on-line product Help, PDF, and printed book. Results from on-line product Help are included in your results whenever you search Community Help.

If you’re connected to the Internet, the Help menu within the product opens the product Help and Support page by default. This page is a portal to all of the Community Help content for the product. If you want to consult or search on-line product Help only, you can access it by clicking the product Help link in the upper-right corner of the Help and Support page. Be sure to select the This Help System Only option before you do your search.

USING ADOBE ILLUSTRATOR CS4

Resources

If you’re not connected to the Internet, the Help menu within the product opens local Help, a subset of the content available in on-line product Help. Because local Help is not as complete or up-to-date as on-line product Help, Adobe recommends that you use the PDF version of product Help if you want to stay offline. A downloadable PDF of complete product Help is available from two places:

• The product’s Help and Support page (upper-right corner of the page)

• Local and web Help (top of the Help interface)

For more information on accessing product help, see http://help.adobe.com/en_US/CommunityHelp/.

If you are working in Adobe InDesign, Photoshop, Illustrator, Flash, Fireworks, or Dreamweaver, and you want to turn off Community Help so that local Help opens by default, do the following:

1 Open the Connections panel (Window > Extensions > Connections).

2 From the Connections panel menu , select Offline Options.

3 Select Keep Me Offline and click OK.

Note: When you disable web services from the Connections panel, all other web services (such as Adobe Kuler and Adobe ConnectNow) are also disabled.

Printed resources

Printed versions of the complete on-line product Help are available for the cost of shipping and handling at

www.adobe.com/go/store.

Support resources

Visit the Adobe Support website at www.adobe.com/support to learn about free and paid technical support options.

Services, downloads, and extras

You can enhance your product by integrating a variety of services, plug-ins, and extensions in your product. You can also download samples and other assets to help you get your work done.

Adobe creative on-line services

Adobe® Creative Suite® 4 includes new on-line features that bring the power of the web to your desktop. Use these features to connect with the community, collaborate, and get more from your Adobe tools. Powerful creative on-line services let you complete tasks ranging from color matching to data conferencing. The services seamlessly integrate with desktop applications so you can quickly enhance existing workflows. Some services offer full or partial functionality when you’re offline too.

Visit Adobe.com to learn more about available services. Some Creative Suite 4 applications include these initial offerings:

Kuler™ panel Quickly create, share, and explore color themes on-line.

Adobe® ConnectNow Collaborate with dispersed working teams over the web, sharing voice, data, and multimedia.

Resource Central Instantly access tutorials, sample files, and extensions for Adobe digital video applications.

For information on managing your services, see the Adobe website at www.adobe.com/go/learn_creativeservices_en.

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Adobe Exchange

Visit the Adobe Exchange at www.adobe.com/go/exchange to download samples as well as thousands of plug-ins and extensions from Adobe and third-party developers. The plug-ins and extensions can help you automate tasks, customize workflows, create specialized professional effects, and more.

Adobe downloads

Visit www.adobe.com/go/downloads to find free updates, tryouts, and other useful software.

Adobe Labs

Adobe Labs at www.adobe.com/go/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 users.

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. The Adobe development teams use this feedback to create software that meets the needs and expectations of the community.

Adobe TV

Visit Adobe TV at http://tv.adobe.com to view instructional and inspirational videos.

Extras

The installation disc contains a variety of extras to help you make the most of your Adobe software. Some extras are installed on your computer during the setup process; others are located on the disc.

To view the extras installed during the setup process, navigate to the application folder on your computer.

• Windows®: [startup drive]\Program Files\Adobe\[Adobe application]

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

To view the extras on the disc, navigate to the Goodies folder in your language folder on the disc. Example:

• /English/Goodies/

Illustrator video tutorials

Adobe and its partners provide a basic set of video tutorials on Adobe TV and in the Video Workshop on the Adobe website, in addition to excellent tutorials provided by other members of the community.

Note: Video tutorials on Adobe TV were created for Illustrator CS4. Video tutorials on Video Workshop were created for Illustrator CS3. Because most features don’t change substantially from one version to the next, most materials created for Illustrator CS3 are still valid and useful for Illustrator CS4. All video tutorials referred to within this section are still useful and valid for Illustrator CS4.

Click any of these links to view a video tutorial that teaches you how to use Illustrator.

Work area and getting started

Introducing Illustrator CS4 (Adobe TV)

Managing the workspace (Adobe TV)

Creating a new document (Adobe TV)

Working with multiple artboards (Adobe TV)

Drawing and painting

Drawing with the Shape, Line, and Eraser tools (Video Workshop)

Drawing with the Pen tool (Video Workshop)

Drawing with the Pencil tool (Video Workshop)

Using the Paintbrush tool (Video Workshop)

Using brushes and blobs (Adobe TV)

Using brushes (Video Workshop)

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Using the Blob Brush (Adobe TV)

Filling and stroking (Adobe TV)

Using Live Trace to trace a hand drawn sketch (Video Workshop)

Using Live Paint (Video Workshop)

Using Live Paint (Adobe TV)

Editing objects

Reshaping a path (Adobe TV)

Using control handles (Adobe TV)

Scaling and rotating (Adobe TV)

Scaling, skewing, and rotating (Video Workshop)

Using Appearance and Graphic Styles (Adobe TV)

Creating 3D shapes (Video Workshop)

Selecting and arranging

Using smart guides and key alignment (Adobe TV)

Selecting and manipulating objects (Video Workshop)

Using layers and groups (Video Workshop)

Aligning and distributing objects (Video Workshop)

Working with text

Getting started with text (Adobe TV)

Point and path text (Adobe TV)

Creating point and area type (Video Workshop)

Creating type on a path (Video Workshop)

Working with Character and Paragraph text and styles (Video Workshop)

Working with Open Type and the Glyphs panel (Video Workshop)

Using text effectively between Illustrator and Flash (Video Workshop)

Using color

Working with color groups and color harmonies (Adobe TV)

Using Kuler color themes (Adobe TV)

Using the Separations Preview (Adobe TV)

Using the Color Guide to find and create color solutions (Video Workshop)

Creating, editing, and experimenting with color groups (Video Workshop)

Assigning and replacing colors in artwork (Video Workshop)

Using smart objects to manage colors (Video Workshop)

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Using gradients, masks, and transparency

Working with gradients (Adobe TV)

Working with transparency (Video Workshop)

Working with blend modes (Video Workshop)

Working with opacity masks (Video Workshop)

Working with clipping masks and pathfinder (Video Workshop)

Working with symbols and 9-slice scaling

Using symbols effectively between Illustrator and Flash (Video Workshop)

Understanding 9-slice scaling (Video Workshop)

Using 9-slice scaling (Video Workshop)

Importing, exporting, and saving

Importing and copying and pasting between web applications (Video Workshop)

Creating mobile content in Illustrator (Video Workshop)

Saving files for the web (Video Workshop)

Exporting artboards to Flash (Adobe TV)

Exporting content from Illustrator (Video Workshop)

Creating interactive PDFs (Video Workshop)

Exporting to PDF 1.7 (Video Workshop)

Using Creative Suite applications together

Introducing CS4 Design Premium (Adobe TV)

Introducing CS4 Web Premium (Adobe TV)

Introducing CS4 Production Premium (Adobe TV)

Using ConnectNow to share your screen (Adobe TV)

Using Adobe Bridge

Introducing Bridge CS4 (Adobe TV)

Working with metadata and keywords (Adobe TV)

Previewing and comparing images (Adobe TV)

Creating a web photo gallery (Adobe TV)

Using Device Central

Introducing Adobe Device Central CS4 (Adobe TV)

Using the online library (Adobe TV)

Managing mobile projects (Adobe TV)

Automating testing of mobile content (Adobe TV)

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What’s new

Enriched workspace tools

Multiple artboards in your documents

Create multi-page files containing up to 100 artboards of varying sizes. You can create artboards that overlap, appear side-by-side, or are stacked on top of one another. You can also save, export and print artboards independently or together. Multiple artboards have replaced the Crop Area tool. (See

Tabbed document windows and Document Arrangement panel

Display multiple documents in a tabbed view, or open them side by side so you can easily compare or drag items from one document to another. Simply click a document’s tab to open it, or click Close (x) on a tab to close it. Use the intuitive Arrange Documents window to quickly arrange your open documents in a variety of configurations. (See “Manage Document windows” on page 15.)

Application bar and workspace switcher

The application bar at the top of each Creative Suite application provides menus and options in one easy to access place. Use the workspace switcher to quickly jump to different workspace configurations to meet your specific needs. Also along this bar, you can access Adobe Bridge and the document arrangement panel. (See on page 10.)

Practical smart guides

Smart guides are now even more practical with unobtrusive appearance and behaviors. Instant pop-ups appear with alignment and measurement information, such as deltas between objects and angles of rotation (that you can specify) when moving or transforming objects. Of course, objects still snap to any alignment you choose to make it easy to arrange and transform objects exactly how you want. (See

“Smart Guides” on page 48.)

“Using multiple artboards” on page 37.)

“Workspace overview”

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Quick, easy, and obvious key object alignment

The Align panel and Control panel now provide quick access to the key alignment option. A key object is the one object that you want other objects to align to. You specify a key object by selecting all the objects you want to align, including the key object, and then clicking again on the key object. When selected, the key object appears with a thick blue outline, and the Align To Key Object icon appears in the Control panel and Align panel. Simply choose an alignment option, such as Horizontal Align Left or Vertical Align Center, and all the other selected objects align to the key object.

“Align or distribute relative to a key object” on page 210.)

(See

Resources

New drawing and color tools

Blob Brush tool for merging paths

Use the Blob Brush to draw paths that merge with existing artwork. The Blob Brush draws paths that are fill only - no stroke - and can merge with existing artwork that has the same fill, and no stroke. The Blob Brush can merge with existing artwork that has complicated appearances (as long as there is no stroke on the artwork and the Blob Brush is set up to paint with the exact same fill and appearance settings). For example, if you’ve created a yellow filled rectangle with a drop shadow applied, you can set up the Blob Brush with those attributes and then draw a path across the rectangle, and the two paths will be merged. You can easily select and edit the resulting shape. Use the Blob Brush together with the Eraser tool for truly intuitive vector painting. (See on page 157.)

“Draw and merge paths with the Blob Brush tool”

Expanded Gradients panel and tool

Using the enhanced Gradient tool, you can interact with gradients on the object itself by adding or changing color stops, applying transparency to color stops, and changing the direction or angle of a linear or elliptical gradient (also new in CS4). The Gradient panel now provides a menu of all your saved gradients, direct access to color panels, and transparency controls for individual color spots, among other things. (See

Transparency in gradients

Create gradients with two or more colors and define the opacity of any or all individual colors. By specifying different opacity values for the different color stops in your gradient, you can create gradients that fade in or out and reveal or hide underlying images. (See

Separations Preview panel

Preview your color separations on your monitor before printing to avoid color output surprises such as unexpected spot colors and unwanted overprinting. The Separations Preview panel lets you easily turn colors on and off so you can see how blending, transparency, and overprinting will appear in color-separated output. (See

separations” on page 410.)

“Gradients” on page 184.)

“Preview color

Improved access to core functionality

Clipping masks with clear simplified appearance and access

Adobe Illustrator now displays only the masked area while you are moving or transforming a masked object. Doubleclick the masked object to open it in Isolation mode, where you can view and edit the mask independently of all other objects. (See

“Clipping masks” on page 241 and “Isolate artwork for editing” on page 198.)

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In-panel Appearance editing

Select an item in the Appearance panel to view and use the enhanced full-featured controls. Click hyper-links to open option dialog boxes for effects, strokes, and fills. Click a visibility icon for any attribute to easily turn it on or off. (See “Appearance attributes” on page 349.)

Enriched Graphic Styles panel

The newly updated Graphic Styles panel provides you with a quick and easy way to view and apply styles to objects in your document. Use the Use Text For Preview option to view a style as it appears on text, or right-click a thumbnail to quickly preview how that style will look on a selected object on the artboard. Effect-only styles now display the outlines of the object on which the style was created, so you can recognize your effect-only styles at a glance. Merge a style with an object’s existing style or merge two or more different styles on an object by simply using the Alt or Option key when applying the style. (See

“Graphic styles” on page 366.)

Enhanced integration at export

Support for Flex extensions

Efficiently deliver more editable, workable content to developers for web, interactive, and RIA projects. For instance, use the Flex Skins for Illustrator to create and export vector skins in the Adobe Flex format. (See on page 270.)

“Save in FXG format”

Multiple artboard export support

Creating documents with multiple artboards now makes it easy to create multi-page documents for exporting. You can export artboards to any of the following formats: PDF, PSD, SWF, JPEG, PNG, and TIFF. Or import a multiple artboard Illustrator file into Adobe InDesign or Adobe Flash.You can now easily create multiple-page PDFs. When exporting to Flash SWF format, multiple artboards export as multiple files. (See

“Saving artwork” on page 267 and

“Export artwork” on page 273.)

Chapter 2: Workspace

Welcome to Adobe® Illustrator® CS4. Illustrator gives you an efficient workspace and user interface to create and edit artwork for print, the web, and mobile devices.

To see a video on using Adobe Illustrator, see www.adobe.com/go/lrvid4015_ai.

Workspace basics

Workspace overview

You create and manipulate your documents and files using various elements, such as panels, bars, and windows. Any arrangement of these elements is called a workspace. The workspaces of the different applications in Adobe® Creative Suite® 4 share the same appearance so that you can move between the applications easily. You can also adapt each application to the way you work by selecting from several preset workspaces or by creating one of your own.

Although the default workspace layout varies in different products, you manipulate the elements much the same way in all of them.

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B DC

Default Illustrator workspace A. Tabbed Document windows B. Application bar C. Workspace switcher D. Panel title bar E. Control panel F. Tools panel G. Collapse To Icons button H. Four panel groups in vertical dock

• The Application bar across the top contains a workspace switcher, menus (Windows only), and other application

controls. On the Mac for certain products, you can show or hide it using the Window menu.

• The Tools panel contains tools for creating and editing images, artwork, page elements, and so on. Related tools are

grouped.

• The Control panel displays options for the currently selected tool. The Control panel is also known as the options

bar in Photoshop. (Adobe Flash®, Adobe Dreamweaver®, and Adobe Fireworks® have no Control panel.)

• Flash, Dreamweaver, and Fireworks have a Property inspector that displays options for the currently selected

element or tool.

• The Document window displays the file you’re working on. Document windows can be tabbed and, in certain cases,

grouped and docked.

• Panels help you monitor and modify your work. Examples include the Timeline in Flash, the Layers panel in Adobe

Photoshop®, and the CSS Styles panel in Dreamweaver. Panels can be grouped, stacked, or docked.

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• On the Mac, the Application frame groups all the workspace elements in a single, integrated window that lets you

treat the application as a single unit. When you move or resize the Application frame or any of its elements, all the elements within it respond to each other so none overlap. Panels don’t disappear when you switch applications or when you accidentally click out of the application. If you work with two or more applications, you can position each application side by side on the screen or on multiple monitors. If you prefer the traditional, free-form user interface of the Mac, you can turn off the Application frame. In Adobe Illustrator®, for example, select Window > Application Frame to toggle it on or off. (In Flash, the Application frame is on permanently. Dreamweaver does not use an Application frame.)

Hide or show all panels

• (Illustrator, Adobe InCopy®, Adobe InDesign®, Photoshop, Fireworks)To hide or show all panels, including the

Tools panel and Control panel, press

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

press Shift+Tab.

You can temporarily display hidden panels if Auto-Show Hidden Panels is selected in Interface preferences. It’s always on in Illustrator. Move the pointer to the edge of the application window (Windows®) or to the edge of the

monitor (Mac

OS®) and hover over the strip that appears.

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

Tab.

Display panel options

❖ Click the panel menu icon in the upper-right corner of the panel.

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

(Illustrator) Adjust panel brightness

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

panel.

Reconfigure the Tools panel

You can display the tools in the Tools panel in a single column, or side by side in two columns. (This feature is not available in the Tools panel in Fireworks and Flash.)

In InDesign and InCopy, you also can switch from single-column to double-column (or single-row) display by setting an option in Interface preferences.

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

Search For Help box

Use the Search For Help box on the right side of the Application bar to search for Help topics and online content. If you have an active Internet connection, you can access all content on the Community Help website. If you search for Help without an active Internet connection, search results are limited to Help content that is included with Illustrator.

1 In the search box, type the name of the item on which you want to search (such as a feature, application, or tool).

2 Press Enter.

All topics available from the Community Help center appear in a separate browser window.

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About screen modes

You can change the visibility of the illustration window and menu bar using the mode options at the bottom of the Tools panel. To access panels when in Full Screen Mode, position the cursor at the left or right edge of the screen and the panels will pop up. If you’ve moved them from their default locations, you can access them from the Window menu.

You can choose one of the following modes:

• Normal 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 at the top and

scroll bars.

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

Using the status bar

The status bar appears at the lower-left edge of the illustration window. It displays any of the following:

• current zoom level

• current tool in use

• current artboard in use

• navigation controls for multiple artboards

• date and time

• number of undos and redos available

• document color profile

• status of a managed file

Click the status bar to do any of the following:

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

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

• Access Version Cue® commands.

See also

“Adobe Version Cue” on page 35

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.

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• Drag the dial.

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

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

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

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

A B C

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

1 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

(multiplication), / (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 workspace.

Options displayed in the Control panel vary depending on the type of object or tool you select. For example, when you select a text object, the Control panel displays text-formatting options in addition to options for changing the color, placement, and dimensions of the object. When a selection tool is active, you can access Document Setup and Preferences from the Control panel.

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.

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Change the kinds of controls that appear in the Control panel

❖ Select or deselect options in the Control panel menu.

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

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

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

Dock the Control panel at the bottom of the workspace

❖ Choose Dock To Bottom from the Control panel menu.

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

OS).

(Mac

Customizing the workspace

Manage windows and panels

You can create a custom workspace by moving and manipulating Document windows and panels. You can also save workspaces and switch among them.

Note: The following examples use Photoshop for demonstration purposes. The workspace behaves the same in all the products.

A B

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

In Photoshop, you can change the font size of the text in the Control panel, in the panels, and in tool tips. Choose a size from the UI Font Size menu in Interface preferences.

Manage Document windows

When you open more than one file, the Document windows are tabbed.

• To rearrange the order of tabbed Document windows, drag a window’s tab to a new location in the group.

• To undock a Document window from a group of windows, drag the window’s tab out of the group.

• To dock a Document window to a separate group of Document windows, drag the window into the group.

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Note: Dreamweaver does not support docking and undocking Document windows. Use the Document window’s Minimize button to create floating windows.

• To create groups of stacked or tiled documents, drag the window to one of the drop zones along the top, bottom, or

sides of another window. You can also select a layout for the group by using the Layout button on the Application bar.

Note: Some products do not support this functionality. However, your product may have Cascade and Tile commands in the Window menu to help you lay out your documents.

• To switch to another document in a tabbed group when dragging a selection, drag the selection over the document’s

tab for a moment.

Note: Some products do not support this functionality.

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 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.

• 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

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You can prevent panels from filling all the space in a dock. Drag the bottom edge of the dock up so it no longer meets the edge of the workspace.

Move panels

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

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

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

Press Ctrl (Windows) or Command (Mac OS) while moving a panel to prevent it from docking. Press Esc while moving the panel to cancel the operation.

Note: The dock is stationary and can’t be moved. However, you can create panel groups or stacks and move them anywhere.

Add and remove panels

If you remove all panels from a dock, the dock disappears. You can create a dock by moving panels to the right edge of the workspace until a drop zone appears.

• To remove a panel, right-click (Windows) or Control-click (Mac) its tab and then select Close, or deselect it from

the Window menu.

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

Manipulate panel groups

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

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 move a group, drag the title bar (the area above the tabs).

Stack floating panels

When you drag a panel out of its dock but not into a drop zone, the panel floats freely. The floating panel allows you to position it anywhere in the workspace. You can stack floating panels or panel groups 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.)

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Free-floating stacked panels

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

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

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

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

Resize panels

• To minimize or maximize a panel, panel group, or stack of panels, double-click a tab. You can also single-click the

tab area (the empty space next to the tabs).

• To resize a panel, drag any side of the panel. Some panels, such as the Color panel in Photoshop, cannot be resized

by dragging.

Manipulate panels collapsed to icons

You can collapse panels to icons to reduce clutter on the workspace. In some cases, panels are collapsed to icons in the default workspace.

Panels collapsed to icons

Panels expanded from icons

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

• To expand a single panel icon, click it.

• To resize panel icons so that you see only the icons (and not the labels), adjust the width of the dock until the text

disappears. To display the icon text again, make the dock wider.

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

In some products, if you select Auto-Collapse Icon Panels from the Interface or User Interface Options preferences, an expanded panel icon collapses automatically when you click away from it.

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

collapsed to icons when added to an icon dock.)

• To move a panel icon (or panel icon group), drag 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 floating, expanded panels).

Restore the default workspace

• Select the default, Essentials workspace from the workspace switcher in the Application bar.

• (Photoshop) Select Window > Workspace > Essentials (Default).

• (InDesign, InCopy) Select Window > Workspace > Reset [Workspace Name].

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 workspace based on different workflows, see www.adobe.com/go/vid0032.

Save and switch workspaces

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

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

Save a custom workspace

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

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

• (InDesign, InCopy) Choose Window > Workspace > New Workspace.

• (Dreamweaver) Choose Window > Workspace Layout > New Workspace.

• (Flash) Choose New Workspace from the workspace switcher in the Application bar.

• (Fireworks) Choose Save Current from the workspace switcher in the Application bar.

2 Type a name for the workspace.

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

Panel Locations Saves the current panel locations.

Keyboard shortcuts Saves the current set of keyboard shortcuts (Photoshop only).

Menus Saves the current set of menus.

4 Click OK or Save.

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Display or switch workspaces

❖ Select a workspace from the workspace switcher in the Application bar.

In Photoshop, you can assign keyboard shortcuts to each workspace to navigate among them quickly.

Delete a custom workspace

• Select Manage Workspaces from the workspace switcher in the Application bar, select the workspace, and then

click Delete. (The option is not available in Fireworks.)

• (Photoshop, InDesign, InCopy) Select Delete Workspace from the workspace switcher.

• (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.

(Photoshop) Start with the last or default panel locations

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

In Interface preferences:

• To display panels in their last locations on startup, select Remember Panel Locations.

• To display panels in their default locations on startup, deselect Remember Panel 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. You can also show or hide the Tools panel by choosing 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.

> Tools.

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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

Indicates default tool * Keyboard shortcuts appear in parenthesis

Selection tools

Selection (V)

Direct Selection (A)

Group Selection

Magic Wand (Y)

Lasso (Q)

Artboard (Shift +O)

Drawing tools

Pen (P)

Add Anchor Point (Shift+) Delete Anchor (-)

Point Convert Anchor

Point (Shift+C)

Line Segment (\)

Arc Spiral Rectangular Grid Polar Grid

Rectangle (M)

Rounded Rectangle Ellipse (L) Polygon Star Flare

Pencil (N)

Smooth Path Eraser

Type tools

Type (T)

Area Type Type On a Path Vertical Type Vertical Area

Type Vertical Type

On a Path

Painting tools

Paintbrush (B)

Blob Brush (Shift+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

Slice (Shift+K) Slice Select

Eraser (Shift+E)

Scissors (C) Knife

Moving and zooming tools

Hand (H)

Print Tiling

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.

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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 hidden tools panel and release the mouse button.

Close a separate tool panel

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

Select a tool

❖ Do one of the following:

• Click a tool in the Tools panel. 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 hide tool tips, choose Edit > Preferences > General (Windows) or Illustrator > Preferences > General (Mac OS), and deselect Show Tool Tips.

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.

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Tool galleries

Illustrator provides many tools for creating and manipulating your artwork. These galleries provide a quick visual overview for each tool.

Selection tool gallery

Illustrator provides the following selection tools:

The Selection tool (V) selects entire objects.

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

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

The Artboard tool creates separate artboards for printing or export.

See also

“Keys for selecting” on page 467

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.

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

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

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

The Arc tool draws individual concave or convex curve segments.

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

The Spiral tool draws clockwise and counterclockwise spirals.

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

The Rectangular Grid tool draws rectangular grids.

The Polar Grid tool draws circular chart grids.

The Polygon tool draws regular, multi-sided shapes.

The Rectangle tool (M) draws squares and rectangles.

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

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

flare or solar-flare-like effects.

The Ellipse tool (L) draws circles and ovals.

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

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The Smooth tool smooths Bezier paths.

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

Type tool gallery

Illustrator provides the following type tools:

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

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

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

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

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

The Vertical 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:

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

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

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

The Live Paint Selection (Shift-L)tool selects faces and edges within Live Paint groups.

The Gradient tool (G) adjusts the beginning and ending points and angle of gradients within objects, or applies a gradient to objects.

The Measure tool measures the distance between two points.

Reshaping tool gallery

Illustrator provides the following tools for reshaping objects:

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

The Blob Brush tool (ShiftB)draws paths that automatically expand and merge calligraphic brush paths that share the same color and are adjacent in stacking order.

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.

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

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

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

The Twirl tool creates swirling distortions within an object.

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

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

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

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

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

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

Symbolism tool gallery

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

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

The Symbol Spinner tool rotates symbol instances.

The Symbol Shifter tool moves symbol instances

The Symbol Stainer tool colorizes symbol instances.

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

The Symbol Screener tool applies opacity to symbol instances.

The Symbol Sizer tool resizes 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.

80 70 60 50 40

30 20 10

B A

100

B A

0 10 20 30 40 50 60 70 80

0 20 40 60 80 100

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

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

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

The Stacked Bar Graph tool creates graphs that are similar to stacked column graphs, but stacks the bars horizontally instead of 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 whose 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 Slice tool divides artwork into separate web images.

The Slice Selection tool (Shift-K) selects web slices.

The Eraser tool (Shift-E) erases any area of the object over which you drag.

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

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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:

Workspace

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

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

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

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. All use one artboard, by default. 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.

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.

www.adobe.com/go/learn_ai_video.

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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 654 x 480, which translates to 740 x 480 pixels in video-based 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.

See also

New document video

Video production

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 30

“About templates” on page 33

“About transparency” on page 177

“Using Adobe Device Central with Illustrator” on page 372

Create a new document

You can start a new document from the Welcome screen or from the File menu.

1 Do one of the following:

• If Illustrator is already open, choose File > New and choose a New Document Profile in the New Document menu.

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• If the Welcome screen is open, click a document profile from the Create New list.

• If Illustrator is not open, open it and click a document profile from the Create New list in the Welcome screen.

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

2 Type a name for your document.

3 Specify the number of artboards for your document, and the order you’d like them laid out on screen:

Grid By Row Arranges multiple artboards in the specified number of rows. Choose the number of rows from the Rows

menu. The default value creates the most square appearance possible with the specified number of artboards.

Grid By Column Arranges multiple artboards in the specified number of columns. Choose the number of columns

from the Columns menu. The default value creates the most square appearance possible with the specified number of artboards.

Arrange By Row Arranges artboards in one straight row.

Arrange By Column Arranges artboards in one straight column.

Change To Right-To-Left Layout Arranges multiple artboards in the specified row or column format, but displays

them from right to left.

4 Specify the default spacing between artboards. This setting applies to both horizontal and vertical spacing.

5 Specify the default size, units of measure, and layout for all artboards.

Note: Once your document opens, you can customize your artboards by moving and resizing them as desired.

6 Specify the position of the bleed along each side of the artboard. To use different values for different sides, click the

Lock icon

7 Click Advanced to specify the following additional options:

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

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

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

Raster Effects Specifies the resolution for raster effects in the document. 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

Device Central If you’ve created a document using the Mobile and Devices profile, you can click Device Central to

“About overprinting” on page 428.)

preview your new document in the mobile device interface.

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Create a new document from a template

1 Do one of the following:

• Choose File > New From Template.

• Choose File > New. In the New Document dialog box, click Templates.

• In the Welcome screen, click From Template in the Create New list.

2 In the New From Template dialog box, locate and select a template, and click New.

About templates

Templates let you create new documents that share common settings and design elements. 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 31

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.

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Specify document setup options

At any point you can change your document’s default setup options for units of measure, transparency grid display, background color, and type settings such as language, quote style, superscript and subscript size, and exportability. The Edit Artboards button closes this dialog box and activates the Artboard tool. Use this button if you want to modify your artboards.

1 Choose File > Document Setup or click the Document Setup button in the Control panel (this button is visible when

nothing is selected).

2 Specify options as desired.

Note: The Simulate Colored Paper option is useful if you plan to print the document on colored paper. For example, if you draw a blue object on a yellow background, the object appears green. The simulation is performed only when the transparency grid is not shown.

For specific information on these options, see related topics.

See also

“Change the unit of measurement” on page 47

“View transparency in artwork” on page 177

“Specify curly or straight quotes” on page 314

“Creating superscripts or subscripts” on page 315

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

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

File

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

file and choose File

> Open With > Adobe Illustrator CS4.

See also

“Adobe Version Cue” on page 35

“Importing Adobe PDF files” on page 263

“Importing EPS files” on page 264

“Importing artwork from Photoshop” on page 266

Browse for files using Adobe Bridge

Adobe® Bridge is a cross-platform application included with Adobe® Creative Suite® 4 components that helps you locate, organize, and browse the assets you need to create print, web, video, and audio content. You can start Bridge from any Creative Suite component, and use it to access both Adobe and non-Adobe asset types.

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

• Choose File > Browse In Bridge.

• Click the Adobe Bridge icon in the Control panel.

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• 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.

• 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.

See also

“Adobe Version Cue” on page 35

Adobe Version Cue

Adobe Version Cue® CS4 is an asset management system that lets designers work collaboratively on a set of common files without having to change their workflow significantly. Designers can easily track and manipulate multiple versions of files.

Version 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

Version Cue consists of two pieces: the Adobe Version Cue Server and Adobe Drive.

Adobe Version Cue Server The Version Cue Server can be installed locally or on a dedicated computer. It hosts

Cue projects and PDF reviews.

Version

Adobe Drive Adobe Drive connects to Version Cue CS4 servers. The connected server appears like a hard drive or

mapped network drive in Windows Explorer, Mac OS Finder, and dialog boxes such as Open and Save As.

Note: The “Use Adobe Dialog” option that appears in CS3 applications does not appear in CS4 applications. This option is no longer necessary. Connecting to the Version Cue Server using Adobe Drive lets you view project files from any application.

Version Cue is included with Adobe Creative Suite 4 Design Premium and Standard, Adobe Creative Suite 4 Web Premium and Standard, Adobe Creative Suite 4 Production Premium, and Adobe Creative Suite 4 Master Collection.

Version Cue enables versioning and asset management in all applications, but it includes enhanced features for the following products: Adobe Flash®, Adobe Illustrator®, Adobe InDesign®, Adobe InCopy®, Adobe Photoshop®, and Adobe Bridge. When you use any of these applications to open a file stored on a Version Cue server, the file is checked out automatically. For all other applications, use the context menu to check in and check out files manually.

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For a video on Version Cue, see www.adobe.com/go/lrvid4038_vc. For Version Cue Help, see

www.adobe.com/go/learn_vc_versioncuehelp_cs4.

See also

Version Cue Help

Version Cue video

Manage connections to web services

In Adobe® Creative Suite® 4, the Connections panel lets you manage connections to web services and the locally installed extensions that interact with them. The Connections panel itself is an extension. Additional extensions installed with Creative Suite applications include the following:

Adobe ConnectNow Collaborate with dispersed working teams over the web, sharing voice, data, and multimedia.

Kuler™ panel Quickly create, share, and explore color themes online.

Search for Help In the upper-right corner of applications, enter search terms to access Community Help. Community

Help includes Adobe product Help, plus additional content from the design and production communities.

Visit www.adobe.com to learn about additional services and extensions.

Log into Adobe web services

Regardless of which application you use to access the Connections panel, logging in automatically connects you to services such as ConnectNow meetings.

1 In Adobe InDesign, Photoshop, Illustrator, Flash, Fireworks, or Dreamweaver, choose Window > Extensions >

Connections.

2 Enter your Adobe ID and password. (If you lack an ID or can’t remember it, click the appropriate link.)

3 (Optional) To remain logged in when you restart the computer, select Remember Me On This Computer.

4 Click Log In.

Disable automatic extension updates

By default, the Connections panel automatically updates installed extensions. However, you can disable automatic updates and instead check for them manually.

1 From the Connections panel menu , select Update Preferences.

2 Deselect Check For Updates Automatically.

3 Restart any open Adobe Creative Suite applications.

Manually check for updated extensions

❖ From the Connections panel menu , select Check For Updates.

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Disable web services

If your work environment disallows online connections, you can disable web services. You can also use this option to disable your product from accessing online Community Help. When you disable web services and search for help, the product provides results from the local help system only.

Note: Local Help includes only a portion of the full version of online product Help.

1 From the Connections panel menu , select Offline Options.

2 Select Keep Me Offline.

To disable the Connections panel and web services only in Photoshop, deselect Allow Extensions To Connect in the Plug-Ins section of the Preferences dialog box.

See also

“Help and support” on page 2

Working with ConnectNow

Adobe® ConnectNow provides you with a secure, personal online meeting room where you can meet and collaborate with others via the web in real time. With ConnectNow, you can share and annotate your computer screen, send chat messages, and communicate using integrated audio. You can also broadcast live video, share files, capture meeting notes, and control an attendee's computer.

You can access ConnectNow directly from the application interface.

1 Choose File > Share My Screen.

2 In the Share My Screen dialog box, enter your Adobe ID and password, and click Sign In. If you don’t have an

Adobe ID and password, click the Create a Free Adobe ID link at the top of the dialog box.

3 To share your screen, click the Share My Computer Screen button at the center of the ConnectNow application

window.

For complete instructions on using ConnectNow, see

http://help.adobe.com/en_US/Acrobat.com/ConnectNow/index.html.

For a video tutorial about using ConnectNow, see Using ConnectNow to share your screen (7:12). (This demonstration is in Dreamweaver.)

Using multiple artboards

Artboard overview

Artboards represent the regions that can contain printable artwork. You resize and set the orientation for your artwork by choosing settings in the Artboard Options dialog box. (In Illustrator CS3 and earlier, you use the Document Setup dialog box to change the document size and orientation.)

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You can use artboards as crop areas for printing or placement purposes—they work the same way as crop areas work in Illustrator CS3. Multiple artboards are useful for creating a variety of things such as multiple page PDFs, printed pages with different sizes or different elements, independent elements for websites, video storyboards, or individual items for animation in Adobe Flash or After Effects.

Note: If you created crop areas in a Illustrator CS3 document, the crop areas will be converted to artboards in CS4. You may be prompted to specify how you want the crop areas to convert.

You can have 1 to 100 artboards per document depending on size. You can specify the number of artboards for a document when you first create it, and you can add and remove artboards at any time while working in a document. You can create artboards in different sizes, resize them by using the Artboard tool

, and position them anywhere

on the screen—even overlapping one another.

To see a video on using multiple artboards, see www.adobe.com/go/lrvid4016_ai.

Viewing artboards and the canvas

You can view the page boundaries in relation to an artboard by showing print tiling (View > Show Print Tiling). When print tiling is on, the printable and nonprintable areas are represented by a series of solid and dotted lines between the outermost edge of the window and the printable area of the page.

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

> Hide Artboards. The canvas is the area outside the artboard that extends to the edge of the 220 inch square window. The canvas represents a space on which you can create, edit, and store elements of artwork before moving them onto an artboard. Objects placed onto the canvas are visible on-screen, but they do not print.

To center an artboard and zoom it to fit the screen, click the artboard number in the status bar, located at the bottom of the application window.

Illustration window A. Printable area (determined by the specified printer) B. Canvas C. Artboard

Printing and exporting artboards

All artboards in a document share the same media type format, such as Print. You can print each artboard individually, tiled, or combined into one page. If you save a multiple-artboard Illustrator document to a previous version of Illustrator, such as CS3, you can choose to save each artboard as a separate file, along with a master file that includes all artboards merged.

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You can preview artboards from the print dialog before printing them. The print settings you choose are applied to all of the artboards you selected to print.

By default all artwork is cropped to an artboard and all artboards print as individual pages. Use the Range option in the Print dialog box to print specific pages, select Ignore Artboards and specify placement options to combine all art onto a single page or tile the artwork as desired.

See also

“Change the page size and orientation” on page 407

“Reposition artwork on the page” on page 405

“Tile artwork on multiple pages” on page 406

Artboard options

You open the Artboard Options dialog box by double-clicking the Artboard tool , or clicking the Artboard tool and then clicking Artboard Options button in the Control panel.

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

output.

Width and Height Specifies the size of the artboard.

Orientation Specifies portrait or landscape page orientation.

Constrain Proportions Keeps the aspect ratio of the artboard intact if you manually resize it.

X: and Y: Position Specifies the position of the artboard according to Illustrator’s workspace rulers. To view these

rulers, choose View

Show Center Mark Displays a point in the center of the artboard.

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

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

> Show Rulers.

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

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

Fade Region Outside Artboard Displays the area outside of the artboard a darker shade than the area inside the

artboard when the Artboard tool is active.

Update While Dragging Keeps the area outside of the artboard darker as you drag to resize the artboard. If this is not

selected, the outside area displays in the same color as inside the artboard while resizing.

Artboards Indicates how many artboards exist.

Create an artboard

1 Do any of the following:

• To create a custom artboard, select the Artboard tool , and drag in the workspace to define the shape, size, and

location.

• To use a preset artboard, double-click the Artboard tool, select a preset in the Artboard Options dialog box, and

click OK. Drag the artboard to position it where you want.

• To create an artboard within an active artboard, hold down Shift and drag using the Artboard tool.

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• To duplicate an existing artboard, select the Artboard tool, click to select the artboard you want to duplicate, and

click the New Artboard button in the Control panel artboard. To create multiple duplicates, Alt-click as many times as you want. Or, using the Artboard tool, Alt-drag (Windows) or Option-drag (Mac OS) the artboard you want to duplicate.

; then click where you want to place the duplicated

• To duplicate an artboard with the contents, select the Artboard tool, click to select the Move/Copy Artwork With

Artboard icon on the Control panel

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

2 To commit the artboard and exit the artboard-editing mode, click a different tool in the Tools panel or click Esc.

To see a video on using multiple artboards, see www.adobe.com/go/lrvid4016_ai.

, press Alt (Windows) or Option (Mac OS), and then drag.

Delete an artboard

❖ Click the artboard and press Delete, click Delete in the Control panel, or click the Delete icon in an

artboard’s upper-right corner. You can delete all but the last remaining artboard.

Select and view artboards

1 Select the Artboard tool .

2 Do any of the following:

• Click an artboard to make it active. (Clicking in or drawing over an artboard using a different tool will also make

the Artboard tool active.) If artboards overlap, the artboard with the left edge closest to the click location becomes the active artboard.

• To rotate between artboards, press Alt (Windows) or Option (Mac OS) and click an arrow key.

• To view artboards and their contents as outlines, right-click and choose Outline. To see artwork again, right-click

and choose Preview.

Edit artboards

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

1 Select the Artboard tool , click to select an artboard.

2 Do any of the following:

• To resize the artboard, position the pointer on an edge or corner until the cursor changes to a double-sided arrow,

and then drag to adjust. Or, specify new Width and Height values in the Control panel.

• To change the orientation of the artboard, click the Portrait or Landscape button in the Control panel.

• To rotate between artboards, press Alt (Windows) or Option (Mac OS) and click an arrow key.

• To view artboards and their contents as outlines, right-click and choose Outline. To see artwork again, right-click

and choose Preview.

Move an artboard

1 Select the Artboard tool and click to select an artboard.

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2 Do one of the following:

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• To move the artboard and its contents, click to select the Move/Copy Artwork With Artboard icon on the Control

, and then position the pointer in the artboard and drag. Or, specify new X and Y values in the Control

panel panel.

• To move the artboard without its contents, click to deselect the Move/Copy Artwork With Artboard icon on the

Control panel, and then position the pointer in the artboard and drag. Or, specify new X and Y values in the Control panel.

Display artboard rulers, center mark, crosshairs, or safe area

You can choose to display a center mark, cross hairs, video safe markers, and rulers around an artboard. 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 preset you choose either in the Artboard 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 an artboard of 100 x100 Illustrator points, and you want to know the exact size in device-dependent pixels before exporting the file for use in a NTSC DV Widescreen, you can set the artboard 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 artboard as 83 x100 device pixels (100/1.2 = 83.333).

Artboard with rulers

Show or hide artboard rulers

1 Choose View > Show Artboard Rulers or Hide Artboard Rulers.

2 (Optional) Set a value for Ruler Pixel Aspect Ratio in the Artboard Options dialog box. (To open this dialog box,

double-click the Artboard tool.)

Display center mark, cross hairs, or video safe areas

1 Double-click the Artboard tool in the Tools panel, or, with the Artboard tool active, click the Artboard Options

icon in the Control panel.

2 In the Display section, select the options you’d like displayed in your artboards.

Note: You can also set or remove the center point by clicking the Show Center Mark icon in the Control panel.

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Viewing artwork

Specify Document Setup options

At any point you can change your document’s default setup options for units of measure, transparency grid display, background color, and type settings such as language, quote style, superscript and subscript size, bleeds, and exportability. The Edit Artboards button closes this dialog box and activates the Artboard tool.

1 Choose File > Document Setup, or click the Document Setup button in the Control panel. (This button is available

when nothing is selected.)

2 Specify options as desired.

3 If you want to edit artboards (for instance, to change from portrait to landscape orientation), click Edit Artboards

to enter artboard editing mode.

The Simulate Colored Paper option is useful if you plan to print the document on colored paper. For example, if you draw a blue object on a yellow background, the object appears green. The simulation is only performed when the

transparency grid is not shown.

See also

“Edit artboards” on page 40

“Change the unit of measurement” on page 47

“View transparency in artwork” on page 177

“Specify curly or straight quotes” on page 314

“Creating superscripts or subscripts” on page 315

About print tiling

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

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

> Show Print Tiling.

Artboard divided into multiple page tiles

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

Workspace

See also

“Change the page size and orientation” on page 407

“Tile 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 fill the window with the selected artboard, choose View > Fit Artboard In Window, or double-click the Hand tool.

• To view everything in the window, choose View > Fit All In Window.

See also

“Moving and zooming tool gallery” on page 30

“Keys for viewing artwork” on page 465

Change the view area

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

• Choose View > Actual Size to see all of your artboards in actual size.

• Choose View > Fit All In Window to zoom out so that all artboards are visible in on the screen.

• Choose View > Fit Artboard In Window to zoom in on the active artboard.

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

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

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

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

Performance (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.

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See also

“Moving and zooming tool gallery” on page 30

“Keys for viewing artwork” on page 465

Navigator panel overview

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

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 Contents

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.

See also

“Manage windows and panels” on page 15

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

• 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 in color. The eye icon has a hollow center view is enabled.

> Document Setup, and select Show Images In Outline Mode.

OS) again to return to previewing artwork

when Outline view is enabled and a filled center when Preview

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• 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.

See also

“Layers panel overview” on page 215

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.

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

For window less magnified for laying out those objects on the page.

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

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

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

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 appear at the same time only 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.

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.

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.

Separations Preview mode (Window > Separations Preview) Provides a preview of how the separations will look when

printed.

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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 (Windows) or Illustrator

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

or device.

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

turn on anti-aliasing, choose Edit > Preferences > General

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See also

“About overprinting” on page 428

“About pixel preview mode” on page 371

“Soft-proof colors” on page 139

“Save For Web & Devices overview” on page 384

“Using Adobe Device Central with Illustrator” on page 372

“Preview which areas of artwork will be flattened” on page 424

Rulers, grids, guides, and crop marks

Use rulers

Rulers help you accurately place and measure objects in the illustration window or in an artboard. The point where 0 appears on each ruler is called the ruler origin.

Document rulers appear at the top and left sides of the illustration window. The default ruler origin is located at the lower-left corner of the illustration window.

Artboard rulers appear at the top and left sides of the active artboard. The default artboard ruler origin is located at the lower-left corner of the artboard.

• To show or hide rulers, choose View > Show Rulers or View > Hide Rulers.

• To show or hide artboard rulers, choose View > Show Artboard Rulers or View > Hide Artboard Rulers.

• To change the ruler origin, move the pointer to the upper-left corner 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 where the rulers intersect.

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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 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, choose the

unit of measure you want to use from the Units menu, and click

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

abbreviations: 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).

> Preferences > Units & Display Performance (Mac OS), and then select units for the General, Stroke,

OK.

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 Grid (Mac

OS).

> Preferences > Guides & Grid (Windows) or Illustrator > Preferences > Guides &

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

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

OS).

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Create guides

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

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

3 Drag the guide into position.

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

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

Move, delete, or release guides

1 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

1 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.

Smart Guides

Smart Guides are temporary snap-to guides that appear when you create or manipulate objects or artboards. They help you align, edit, and transform objects or artboards relative to other objects, artboards, or both by snap-aligning and displaying X, Y location and delta values. You can specify the type of smart guides and feedback that appear (such as measurement labels, object highlighting, or labels) by setting the Smart Guides preferences.

To see a video on using smart guides, see www.adobe.com/go/lrvid4020_ai.

Use Smart Guides

Smart Guides are on by default.

1 Choose View > Smart Guides to turn guides on or off.

2 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. Or, when you create a new artboard, use Smart Guides to position it relative to another artboard or an object.

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• When you create an object with the pen or shape tools, or when you transform an object, use the smart guides’

construction guides to position anchor points to specific preset angles, such as 45 or 90 degrees. You set these angles in the Smart Guides preferences.

• When you move an object or artboard, use the Smart Guides to align the selected object or artboard to other objects

or artboards. The alignment is based on the geometry of objects and artboards. Guides appear as the object approaches the edge or center point of other objects.

Note: Press Ctrl (Windows) or Command (Mac OS) to use the alignment behavior from Illustrator CS3, which uses the center point or edge of one object or artboard.

• 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 or Pixel Preview is turned on, you cannot use Smart Guides (even if the menu command is selected).

Smart Guide preferences

Choose Edit > Preferences > Smart Guides (Windows) or Illustrator > Preferences > Smart Guides (Mac OS) to set the following preferences:

Color Specifies the color of the guides.

Alignment Guides Displays guide lines that are generated along the center and edges of geometric objects, artboard,

and bleeds. They are generated when you move objects and when you perform operations such as drawing basic shapes, using Pen tool, and transforming objects.

Anchor/Path Labels Displays information when paths intersect and when they are centered on an anchor point.

Measurement Labels Displays information for many tools (such as Drawing tools and Text tools) about the current

position the cursor as you position the cursor over an anchor point. While creating, selecting, moving, or transforming objects it displays the x and y delta from the object’s original location. When you press Shift while using a drawing tool, the starting location appears.

Object Highlighting Highlights the object below the pointer as you drag around it. The highlight color matches the

object’s layer color.

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

Construction Guides Displays guidelines as you draw new objects. You specify the angles at which you want guidelines

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

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

effect.

Specify crop marks for trimming or aligning

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

Crop marks differ from the artboard in the following ways:

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

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

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

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

Note: Crop marks do not replace trim marks created with the Marks & Bleed options in the Print dialog box.

Create crop marks around an object

1 Select the object or objects.

2 Choose Effect > Crop Marks.

Delete crop marks

❖ Select Crop Marks in the Appearance panel, and then click the Delete Selected Item icon .

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.

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 . (Press and hold the Eyedropper tool to see it in the Tools panel.)

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.

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

• 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

as you drag.

or reflection .

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

, and the amount of shear .

axis

• 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.

(Mac

Open a preferences dialog box

1 Do one of the following:

• (Windows) Choose Edit > Preferences > [preference set name].

• (Mac OS) Choose Illustrator > Preferences > [preference set name].

• With nothing selected, click the Preferences button on the Control panel.

2 To switch to a different preference set, do one of the following:

• Select an option from the menu at the upper-left of the Preferences dialog box.

• Click Next to display the next options, or click Prev to display the previous options.

Reset all preferences to default settings

Resetting preferences can be helpful if you are having problems with the application.

❖ Do one of the following:

• Press and hold Alt+Control+Shift (Windows) or Option+Command+Shift (Mac OS) as you start Illustrator.

Your current settings are deleted.

• Remove or rename the AIPrefs file (Windows) or Adobe Illustrator Prefs file (Mac OS). New preferences files

are created the next time you start Illustrator.

Note: It is safe to remove the entire Adobe Illustrator CS4 Settings folder. This folder contains various preferences that can be regenerated.

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.

USING ADOBE ILLUSTRATOR CS4

Workspace

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

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® 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.

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 components.

See also

“About bitmap images” on page 261

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.

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.

USING ADOBE ILLUSTRATOR CS4

Drawing

A B C

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

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

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

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

A path’s outline is called a stroke. 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.

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 points. The angle and length of the direction lines determine the shape and size of the curved segments. Moving the direction points reshapes the curves. Direction lines don’t appear in the final output.

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

USING ADOBE ILLUSTRATOR CS4

Drawing

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

In comparison, a corner point can have two, one, or no direction lines, depending on whether it joins two, one, or no curved segments, respectively. 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,

the curve.

Moving and resizing direction lines changes the slope of curves.

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

> Hide Edges.

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 198

Show or hide direction lines for selected anchor points

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

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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.

Drawing

Set direction point and direction line display preferences

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

Anchor Display (Mac

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.

OS).

Specify anchor point size preferences

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

Anchor Display (Mac

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

Anchors Specifies the display of anchor points:

OS).

• 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.

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

www.adobe.com/go/vid0036.

OK.

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Drawing

See also

“Drawing tool gallery” on page 23

“Keys for drawing” on page 466

Draw rectangles and squares

1 Select the Rectangle tool or the Rounded Rectangle tool .

2 Do one of the following:

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

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

• 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

For a video on using shape tools, see www.adobe.com/go/vid0036. For an example of using shape tools to draw buildings, see www.adobe.com/go/learn_ai_tutorials_shapes_en.

See also

“Drawing tool gallery” on page 23

OK.

“Keys for drawing” on page 466

Specify the corner radius of a rounded rectangle

The corner radius determines the roundness of the rectangle’s corners. You can change the default radius for all new rectangles, and you can change the radius for individual rectangles as you draw them.

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

General (Mac 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.

OS), and enter a new value for Corner Radius. Alternatively, select the Rounded Rectangle tool, click

• 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.

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

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.

OK.

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

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See also

“Drawing tool gallery” on page 23

“Keys for drawing” on page 466

Draw polygons

1 Select the Polygon tool .

2 Do one of the following:

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

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

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

OK.

click

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 23

Drawing

“Keys for drawing” on page 466

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

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

OK.

See also

“Drawing tool gallery” on page 23

“Keys for drawing” on page 466

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.

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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.

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

See also

“Drawing tool gallery” on page 23

“Keys for drawing” on page 466

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.

Drawing

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.

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

See also

“Drawing tool gallery” on page 23

“Keys for drawing” on page 466

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 23

“Keys for drawing” on page 466

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Draw rectangular grids

1 Select the Rectangular Grid tool .

2 Do one of the following:

• Drag until the grid is the desired size.

• Click to set the grid’s reference point. In the dialog box, click a square on the reference point locator to

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

Default Size Specifies the width and height of the entire grid.

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).

Drawing

Draw circular (polar) grids

1 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).

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.

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Drawing

Anchor points are set down as you draw with the Pencil tool; you do not determine where they are positioned. However, you can adjust them once the path is complete. The number of anchor points set down is determined by the length and complexity of the path and by tolerance settings in the Pencil Tool Preferences dialog box. These settings control how sensitive the Pencil tool is to the movement of your mouse or graphics-tablet stylus.

For a video on drawing with the Pencil tool in Illustrator, see www.adobe.com/go/vid0039.

See also

Pencil tool in Illustrator video

Draw freeform paths with the Pencil tool

1 Select the Pencil tool .

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

1 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

1 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

1 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.

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Drawing

4 After you begin dragging, hold down Ctrl (Windows) or Command (Mac OS). The Pencil tool displays a small

merge symbol to indicate you’re adding to the existing path.

5 Drag onto the endpoint of the other path, release the mouse button, and then release the Ctrl or Command key.

Note: For best results, drag from one path to the other as if you were simply continuing the paths in the direction they were created.

Reshape paths with the Pencil tool

1 Select the path you want to change.

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.

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 a selected 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.

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Drawing

Drawing with the Pen tool

Draw straight line segments with the Pen tool

The simplest path you can draw with the Pen tool is a straight line, made by clicking the Pen tool to create two anchor points. By continuing to click, you create a path made of straight line segments connected by corner points.

Clicking Pen tool creates straight segments.

1 Select the Pen tool.

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

> Undo, and click again.

Edit

3 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

Note: To close a path in InDesign, you can also select the object and choose Object > Paths > Close Path.

when it is positioned correctly. Click or drag to close the path.

• To leave the path open, Ctrl-click (Windows) or Command-click (Mac OS) anywhere away from all objects.

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.

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Drawing

The first anchor point appears, and the Pen tool pointer changes to an arrowhead. (In Photoshop, the pointer changes only after you’ve started dragging.)

3 Drag to set the slope of the curve segment you’re creating, and then release the mouse button.

In general, extend the direction line about one third of the distance to the next anchor point you plan to draw. (You can adjust one or both sides of the direction line later.)

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.

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5 Continue dragging the Pen tool from different locations to create a series of smooth curves. Note that you are

placing anchor points at the beginning and end of each curve, not at the tip of the curve.

Alt-drag (Windows) or Option-drag (Mac OS) direction lines to break out the direction lines of an anchor point.

6 Complete the path by doing one of the following:

Drawing

• To close the path, position the Pen tool over the first (hollow) anchor point. A small circle appears next to the Pen

tool pointer

Note: To close a path in InDesign, you can also select the object and choose Object > Paths > Close Path.

when it is positioned correctly. Click or drag to close the path.

• To leave the path open, Ctrl-click (Windows) or Command-click (Mac OS) anywhere away from all objects.

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.

See also

Pen tool in Illustrator video

Reposition anchor points as you draw

❖ After you click to create an anchor point, keep the mouse button pressed down, hold down the spacebar, and drag

to reposition the anchor point.

Finish drawing a path

❖ Complete a path in one of the following ways:

• To close a path, position the Pen tool over the first (hollow) anchor point. A small circle appears next to the Pen

tool pointer

Note: To close a path in InDesign, you can also select the object and choose Object > Paths > Close Path.

when it is positioned correctly. Click or drag to close the 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.

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.

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Drawing

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. Positioning Pen tool 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.

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.

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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 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

OS) and drag the direction line toward its opposing end to set the slope of the next curve. Release

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.

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• (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

1 Select the Direct Selection tool or, in Illustrator, the Lasso tool.

2 Drag around the entire path.

If the path is filled, you can also click inside the path with the Direct Selection tool to select all anchor points.

Copy a path

❖ Select a path or segment with the Selection tool or Direct Selection tool and do one of the following:

• Use the standard menu functions to copy and paste paths within or between applications.

• 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 67

“Reshaping tool gallery” on page 26

Move straight segments

1 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

1 With the Direct Selection tool , select an anchor point on the segment you want to adjust.

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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

1 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.

• 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

1 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

1 Using the Pen tool, position the pointer over the endpoint of the open path you want to extend. The pointer changes

when it’s precisely positioned over the endpoint.

2 Click the endpoint.

3 Do one of the following:

• To create a corner point, position the Pen tool where you want to end the new segment, and click. If you are

extending a path that ends at a smooth point, the new segment will be curved by the existing direction line.

Note: In Illustrator, if you extend a path that ends in a smooth point, the new segment will be straight.

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• To create a smooth point, position the Pen tool where you want to end the new curved segment, and drag.

Connect two open paths

1 Using the Pen tool, position the pointer over the endpoint of the open path that you want to connect to another

path. The pointer changes when it’s precisely positioned over the endpoint.

2 Click the endpoint.

3 Do one of the following:

• To connect the path to another open path, click an endpoint on the other path. 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.

In InDesign, you can also use the Pathfinder panel to join paths. To close the path of an open path, use the Selection

tool to select the path and click Close Path in the Pathfinder panel. To close the end points between two paths, select the paths and click Join Path. You may want to click Join Path a second time to join the second endpoint.

Join two endpoints

1 Select the endpoints.

If the endpoints are coincident (on top of each other), drag a marquee through or around both endpoints to select them.

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

A B

Joining endpoints A. Selecting and joining coincident endpoints B. Selecting and joining noncoincident endpoints

OK.

Move or nudge anchor points or segments using the keyboard

1 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

1 Select the entire path.

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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 and Backspace 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.

See also

“Drawing tool gallery” on page 23

“Select paths, segments, and anchor points” on page 67

Add or delete anchor points

1 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.

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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

OS), and select Disable Auto Add/Delete.

(Mac

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 23

“Keys for editing shapes” on page 468

“Select paths, segments, and anchor points” on page 67

Smooth paths

1 Select the object.

2 Select the Smooth tool .

3 Drag the tool along the length of the path segment you want to smooth out.

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.

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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

1 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.

Drawing

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 53

“Drawing tool gallery” on page 23

“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.

1 To convert one or more corner points to smooth points, select the points and then click the Convert Selected

Anchor Points To Smooth

2 To convert one or more smooth points to corner points, select the points and then click the Convert Selected

Anchor Points To Corner

Convert an anchor point precisely using the Convert Anchor Point tool

1 Select the entire path you want to modify so that you can see its anchor points.

2 Select the Convert Anchor Point tool .

button in the Control panel.

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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

• 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

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Using the Path Eraser tool to erase portions of a path (left), using the Eraser tool to erase part of a grouped object (right)

For a video on using the Eraser tool, see www.adobe.com/go/vid0036.

See also

“Drawing tool gallery” on page 23

“Keys for editing shapes” on page 468

Erase part of a path using the Path Eraser tool

1 Select the object.

2 Select the Path Eraser tool .

3 Drag the tool along the length of the path segment you want to erase. For best results, use a single, smooth, dragging

motion.

Erase objects using the Eraser tool

1 Do one the following:

• To erase specific objects, select the objects or open the objects in isolation mode.

• To erase any object on the artboard, leave all objects unselected.

When you have nothing selected, the Eraser tool erases through and across all layers.

2 Select the Eraser tool .

3 (Optional) Double-click the Eraser tool and specify options.

4 Drag over the area you want to erase. 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

OS). To constrain the marquee to a square, Alt-Shift-drag (Windows) or Option-Shift-drag (Mac OS).

(Mac

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. (You may need to select the Pressure option in the Eraser Tool Options dialog box first.)

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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

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 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

higher the value, the greater the roundness.

example, when the Roundness

stroke.

Stylus Wheel Varies in diameter based on manipulation of the stylus wheel.

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 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.

Stroke alignment is automatically reset to center.

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.

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• Select the anchor point where you want to split the path, and then click the Cut Path At Selected Anchor Points

in the Control panel. When you split the path at an anchor point, a new anchor point appears on top

button of the original anchor point, and one anchor point is selected.

3 Use the Direct Selection tool to adjust the new anchor point or path segment.

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 240

Tracing artwork with Live Trace

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.

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. For examples on using a template layer for tracing, see the following tutorials: www.adobe.com/go/learn_ai_tutorials_templatelayer_en and

www.adobe.com/go/learn_ai_tutorials_elliptical_gradients_en.

Automatically trace artwork using Live Trace

1 Open or place a file to use as the source image for the tracing.

2 With the source image selected, do one of the following:

• To trace the image using a tracing preset, click the Tracing Presets and Options button 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 >

> Make.

Live Trace

• 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.

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Drawing

Manually trace artwork using template layers

Template layers are locked, nonprinting layers that you can use to manually trace images. Template layers are dimmed by 50% so you can easily see any paths you draw in front of the layer. You can create template layers when you place an image or from existing layers.

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 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,

OK.

and click

Tracing options

Preset Specifies a tracing preset.

Mode Specifies a color mode for the tracing result.

Threshold Specifies a value for generating a black and white tracing result from the original image. All pixels lighter

than the Threshold value are converted to white, all pixels darker than the Threshold value are converted to black. (This option is available only when Mode is set to Black and White.)

Palette Specifies a palette for generating a color or grayscale tracing from the original image. (This option is available

only when Mode is set to Color or Grayscale.)

To let Illustrator determine the colors in the tracing, select Automatic. To use a custom palette for the tracing, select a swatch library name. (The swatch library must be open in order for it to appear in the Palette menu.)

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.

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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 53.

Raster Specifies how to display the bitmap component of the tracing object. This view setting is not saved as part of

the tracing preset.

Vector 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_en.

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.

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Use tracing presets to quickly change the results of a tracing.

Specify the colors used for tracing

1 Create a swatch library that contains the colors you want to use in the tracing.

2 Make sure that the swatch library is open, and click the Tracing Options Dialog button in the Control panel.

Alternatively, choose Object > Live Trace > Tracing Options.

3 Select the swatch library name from the Palette menu, and click Trace.

See also

“Create a swatch library” on page 105

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.

Specify a preset

• Choose Object > Live Trace > Tracing Options. (Alternatively, select a tracing object, and click the Tracing Options

Dialog button the preset, and click OK.

in the Control panel.) Set tracing options for the preset, and click Save Preset. Enter a name for

• 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

1 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

1 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.

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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

> Convert To Live Paint. Use this method if you want to apply fills and strokes to the traced artwork using

Trace 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.

See also

“About paths” on page 53

“About Live Paint” on page 161

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.

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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

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

1 Select a view option from the panel menu: Thumbnail View to display thumbnails, Small List View to display a list

of named symbols with a small thumbnail, or Large List View to display a list of named symbols along with a large thumbnail.

2 Drag the symbol to a different position. When a black line appears in the desired position, release the mouse button.

3 Select Sort By Name from the panel menu to list the symbols in alphabetical order.

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 page 84.)

“Work with symbol instances” on

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Rename a symbol

1 To rename the symbol, select the symbol in the Symbols panel, choose Symbol Options from the panel menu, and

then type a new name in the Symbol Options dialog box.

2 To rename a symbol instance, select a symbol instance in the artwork, and then type a new name in the Instance

Name text box in the Control panel.

Place a symbol

1 Select a symbol in the Symbols panel or a symbol library.

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.

Create a symbol

1 Select the artwork you want to use as a symbol.

2 Do one of the following:

• Click the New Symbol button in the Symbols panel.

• Drag the artwork to the Symbols panel.

• Choose New Symbol from the panel menu.

Note: By default, the selected artwork becomes an instance of the new symbol. 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 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.

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.

OS) as you create the symbol and Illustrator

Note: For a video on using symbols effectively between Illustrator and Flash, see www.adobe.com/go/vid0198.

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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

Enable 9-slice scaling

1 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.

www.adobe.com/go/vid0204 and www.adobe.com/go/vid0205.

Edit the 9-slice scaling grid for a symbol

1 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 Symbol 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 Isolated Group 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 206

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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

in the Symbols panel.

Symbol

Expand a symbol instance

1 Select one or more symbol instances.

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 82.)

Replace a symbol instance with a different symbol

1 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.

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Edit or redefine a symbol

You can edit a symbol by changing the symbol’s artwork or you can redefine the symbol by replacing it with new artwork. Editing and redefining a symbol changes the appearance of the symbol in the Symbols panel, as well as all instances of the symbol on the artboard.

Edit a symbol

1 Do one of the following to open the symbol in isolation mode:

• Select an instance of the symbol and click Edit Symbol in the Control panel. 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 Isolated Group button at the upper-left corner of the artboard or in the

Control panel .

Redefine a symbol with different artwork

1 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

1 Add the symbols you want in the library to the Symbols panel, and delete any symbols you don’t want.

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To select all symbols that aren’t used in a document, choose Select All Unused from the Symbols panel menu.

2 Choose Save Symbol Library from the Symbols panel menu.

3 Save the new library to the default Symbols folder. The library name will automatically appear in the User Defined

submenu of the Symbol Libraries and Open Symbol Library menu.

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

1 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).

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.

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Create symbol sets

The Symbol Sprayer acts like a particle sprayer—letting you add a large number of identical objects to the artboard at one time. For example, use the symbol sprayer to add hundreds of grass blades, wildflowers, bees, or snowflakes.

See also

“Symbolism tool gallery” on page 27

“Symbolism tool options” on page 90

Spray sets of symbol instances onto artwork

1 Select a symbol in the Symbols panel, and then select the Symbol Sprayer tool .

2 Click or drag where you want the symbol instances to appear.

Add or delete symbol instances from an existing set

1 Select the existing symbol set.

2 Select the Symbol Sprayer tool and a symbol in the Symbols panel.

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 27

“Symbolism tool options” on page 90

Change stacking order of symbol instances in a set

1 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

1 Select the Symbol Scruncher tool .

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• Click or drag in the area where you want to pull the symbol instances toward each other.

• Hold down Alt (Windows) or Option (Mac OS), and click or drag in the area where you want to push symbol

instances away from each other.

Resize symbol instances

1 Select the Symbol Sizer tool .

2 Do one of the following:

• Click or drag in the set where you want to increase the size of the symbol instances.

• 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.

Rotate symbol instances

1 Select the Symbol Spinner tool .

2 Click or drag in the direction you want the symbol instances to orient.

Drawing

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

1 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

transparency.

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Apply a graphic style to symbol instances

The Symbol Styler tool lets you apply or remove a graphic style from a symbol instance. You can control the amount and location of the application. For example, you can apply a style gradually so that some symbol instances display the style at full strength and others display the style at partial strength.

Graphic style applied at full strength (top) compared to graphic style applied at varying strengths (bottom)

You can switch to the Symbol Styler tool when using any other symbolism tool by clicking a style in the Graphic Styles

panel.

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.

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• Intensity Specifies the rate of change (higher values equal faster changes), or select Use Pressure Pen to use the

input from a tablet or pen instead of the Intensity value.

• Symbol Set Density Specifies an attraction value for the symbol set (higher values result in more densely packed

symbol instances). This setting applies to an entire symbol set. If a symbol set is selected, the density changes for all symbol instances in the set, not just newly created instances.

• Method 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 Keeps each symbol instance shape uniform as you resize.

• Resizing Affects Density Moves symbol instances away from each other when they are scaled up and moves them

toward each other when they are scaled down.

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.

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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 23

Create a default flare

1 Select the Flare tool .

2 Press Alt (Windows) or Option (Mac OS), and click where you want the center handle of the flare to appear.

Flares often look best when drawn over existing objects.

Draw a flare

1 Select the Flare tool.

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.

Create a flare using the Flare Tool Options dialog box

1 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).

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• 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 (as a percentage of the average ring), and the direction or angle of the rings.

number of rings, the largest ring

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 206

Adobe Illustrator CS4 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Contents

Chapter 1: Resources

Activation and registration

Help with installation

License activation

Register

Adobe Product Improvement Program

ReadMe

Help and support

Community Help

Product Help

Printed resources

Support resources

Services, downloads, and extras

Adobe creative on-line services

Adobe Exchange

Adobe downloads

Adobe Labs

Adobe TV

Extras

Illustrator video tutorials

What’s new

Enriched workspace tools

New drawing and color tools

Improved access to core functionality

Enhanced integration at export

Chapter 2: Workspace

Workspace basics

Workspace overview

Hide or show all panels

Display panel options

(Illustrator) Adjust panel brightness

Reconfigure the Tools panel

Search For Help box

About screen modes

Using the status bar

Enter values in panels and dialog boxes

Enter a value in a panel or dialog box

Calculate values in a panel or dialog box

Control panel overview

Change the kinds of controls that appear in the Control panel

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

Dock the Control panel at the bottom of the workspace

Convert the Control panel to a floating panel

Customizing the workspace

Manage windows and panels

Manage Document windows

Dock and undock panels

Move panels

Add and remove panels

Manipulate panel groups

Stack floating panels

Resize panels

Manipulate panels collapsed to icons

Restore the default workspace

Rename or duplicate a workspace

Save and switch workspaces

Save a custom workspace

Display or switch workspaces

Delete a custom workspace

(Photoshop) Start with the last or default panel locations

Tools

Tools panel overview

View hidden tools

View tool options

Move the Tools panel

Hide the Tools panel

Tear off hidden tools into a separate panel

Close a separate tool panel

Select a tool

Change tool pointers

Tool galleries

Selection tool gallery

Drawing tool gallery

Type tool gallery

Painting tool gallery