Macromedia Illustrator - CS5 Instruction Manual

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Using

ADOBE® ILLUSTRATOR® CS5

Legal notices

For legal notices, see http://help.adobe.com/en_US/legalnotices/index.html.

Last updated 11/8/2011

Chapter 1: What’s New

Perspective drawing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Beautiful strokes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Bristle brush . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Crisp graphics for web and mobile devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Multiple artboards enhancements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Shape Builder tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Drawing enhancements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Roundtrip editing with Adobe Flash Catalyst CS5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Resolution Independent Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Chapter 2: Workspace

Workspace basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Customizing the workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Tool galleries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Files and templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Working with ConnectNow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Using multiple artboards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Viewing artwork . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Rulers, grids, guides, and crop marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Setting preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Recovery, undo, and automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

iii

Chapter 3: Drawing

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

Drawing simple lines an. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . d shapes 56

Drawing pixel-aligned paths for web workflows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Drawing with the Pencil tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Drawing with the Pen tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Editing paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Perspective drawing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Tracing artwork with Live Trace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Manually trace artwork using template layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Symbolism tools and symbol sets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Drawing flares . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

Chapter 4: Color

About color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Selecting colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Using and creating swatches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

Working with color groups (harmonies) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Last updated 11/8/2011

USING ILLUSTRATOR

Contents

Kuler panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145

Adjusting colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146

Chapter 5: Painting

About painting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151

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

Live Paint groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162

Brushes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170

Transparency and blending modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183

Gradients . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190

Meshes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194

Patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197

Chapter 6: Selecting and arranging objects

Selecting objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204

Grouping and expanding objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213

Moving, aligning, and distributing objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214

Rotating and reflecting objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219

Using layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223

Locking, hiding, and deleting objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227

Stacking objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228

Duplicating objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230

Chapter 7: Reshaping objects

Transforming objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233

Scaling, shearing, and distorting objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235

Reshape using envelopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240

Combining objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242

Cutting and dividing objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249

Clipping masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250

Blending objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253

Reshaping objects with effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257

Building new shapes using the Shape Builder tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258

Creating 3D objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261

Chapter 8: Importing, exporting, and saving

Importing files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270

Importing bitmap images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274

Importing Adobe PDF files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276

Importing EPS, DCS, and AutoCAD files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277

Importing artwork from Photoshop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279

Saving artwork . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280

Exporting artwork . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286

Creating Adobe PDF files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293

Adobe PDF options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297

File information and metadata . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304

Last updated 11/8/2011

USING ILLUSTRATOR

Contents

Chapter 9: Type

About type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307

Importing text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307

Creating text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308

Creating type on a path . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315

Scaling and rotating type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319

Spelling and language dictionaries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 320

Fonts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322

Formatting type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324

Line and character spacing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333

Special characters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335

Formatting paragraphs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338

Hyphenation and line breaks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342

Tabs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344

Character and paragraph styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347

Exporting text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 349

Formatting Asian characters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351

Creating composite fonts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360

Updating text from Illustrator 10 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363

Chapter 10: Creating special effects

Appearance attributes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365

Working with effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370

Summary of effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373

Drop shadows, glows, and feathering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 380

Creating sketches and mosaics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 381

Graphic styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 383

Chapter 11: Web graphics

Best practices for creating web graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 388

Slices and image maps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391

SVG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395

Creating animations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 398

Chapter 12: Working with FXG

About FXG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 402

Best practices for using FXG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 402

Save an Illustrator file in FXG format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 403

Illustrator and Flash Catalyst workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 405

FXG mapping of Illustrator objects and attributes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 406

Chapter 13: Printing

Setting up documents for printing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417

Printing color separations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 422

Printer’s marks and bleed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 425

PostScript printing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 427

Printing with color management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 430

Printing gradients, meshes, and color blends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 431

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Contents

Printing and saving transparent artwork . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 434

Overprinting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441

Trapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 443

Print presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447

Chapter 14: Automating tasks

Actions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 450

Scripts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 457

Data-driven graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 458

Chapter 15: Graphs

Creating graphs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 463

Formatting graphs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 467

Adding pictures and symbols to graphs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 471

Chapter 16: Keyboard shortcuts

Customizing keyboard shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 476

Default keyboard shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 477

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Chapter 1: What’s New

Adobe Illustrator CS5 provides precision and power with sophisticated drawing tools, expressive lifelike brushes, a host of time-savers, and integration with Adobe CS Live* online services.

Perspective drawing, a Bristle brush, variable width strokes, and the Shape Builder tool are among the new features in Illustrator’s vector-graphics environment.

With enhanced integration among Adobe products, you can easily move between Illustrator CS5 and products such as Adobe Flash® Catalyst™ CS5 where you can add interaction to your designs.

Note: This page provides a list of features in Illustrator CS5.5 and Illustrator CS5. This page does NOT tell you how to use these features. For more information about any of the new features, click the corresponding links provided.

Perspective drawing

The new Perspective Grid tool allows you to turn on a grid that supports drawing directly on planes of true perspective. Use the perspective grid to draw shapes and scenes in accurate 1, 2, or 3-point perspectives. The new Perspective Selection tool allows you to move, scale, duplicate, and transform objects dynamically. You can also move objects perpendicular to its current location using the Perspective Selection tool.

Imagine being able to easily add a series of street lamps to a city scape for a sequential lighting animation, or fence posts to a reference landscape scene to complete your billboard for a western wilderness outpost. With the Perspective Grid tool group, you quickly and easily work in a preset perspective. The perspective grid provides grid presets to manage the viewing angle and viewing distance for the scene along with widgets to control vanishing points, horizon height, ground level, and the origin. You can also use the perspective grid to draw vector objects on top of a reference photograph or video still placed on your artboard.

See “Perspective drawing” on page 81.

Beautiful strokes

Illustrator CS5 provides several new features that enhance the capability to design with strokes.

Variable-width strokes

Use the Width tool to draw strokes with variable widths that you can quickly and smoothly adjust at any point, symmetrically or along either side. You can also create and save custom width profiles, which you can reapply to any stroke.

See “Create strokes with variable widths” on page 160.

Dashed line adjustments

New options in the Stroke panel allow you to control the alignment of dashes. You can choose to align dashed strokes symmetrically around corners and at the end of open paths or preserve the dash and gaps in strokes.

See “Create dotted or dashed lines” on page 155.

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Precise arrowheads

You can now select and define arrowheads using the Stroke panel. You can also choose to lock the tip or base of the arrowhead to the path endpoint.

See “Add arrowheads” on page 156, “Customize arrowheads” on page 156.

Stretch control for brushes

Define the scaling for art and pattern brushes along a path. Choose areas of the brush stroke to be resized in proportion. For example, you can elongate the middle of a banner, while keeping the detailed, curly ends from stretching.

Brushes with corner control

Apply art and pattern brushes to a path and get clean results, even at tight bends or corners. Where strokes of different widths join, or they form obtuse or acute angles, choose options to properly fill points where joins occur.

Bristle brush

With the Bristle brush, paint with vectors that resemble real world brush strokes. You can draw and render artwork just the way you use a natural media such as watercolors and oils, with the scalability and editability of vectors. The Bristle brush also provides breakthrough control of painting. You can set bristle characteristics, such as size, length, thickness, and stiffness, in addition to setting bristle density, brush shape, and paint opacity.

To explore more capabilities of the Bristle brush, use it with the tablet and 6D pen (Wacom Art Pen). The 6D pen automatically responds to pressure, bearing, and tilt with 360-degree barrel rotation and also provides an accurate brush preview.

See “Bristle brush” on page 180.

Crisp graphics for web and mobile devices

Create vector objects precisely on the pixel grid for pixel-aligned artwork. It is critical that raster images look sharp, especially standard web graphics at 72-ppi resolution, when designing artwork for Adobe Flash Catalyst, Adobe Flash Professional software, and Adobe Dreamweaver. Pixel alignment is also useful for video resolution rasterization control. In Illustrator CS5, new web graphics tools include type enhancements. Choose one of four text anti-aliasing options for each of your Illustrator text frames.

See “Drawing pixel-aligned paths for web workflows” on page 61.

Multiple artboards enhancements

The multiple artboards functionality has been enhanced significantly in Illustrator CS5. Some of the new features include a new Artboards panel, which allows you to add artboards, reorder artboards in the Artboards panel, rearrange artboards, and create duplicate artboards.

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What’s New

Specify custom names for your artboards using the Control panel and the Artboards panel. You can paste objects at a particular location on the artboard and paste artwork on all artboards at the same location using the new Paste in Place and Paste on All Artboards options. You can also set the option to automatically rotate artboards for printing.

See “Using multiple artboards” on page 33.

Shape Builder tool

The Shape Builder tool is an interactive tool for creating complex shapes by merging and erasing simpler shapes. It works on simple and compound paths and intuitively highlights edges and regions of the selected art, which can be merged to form new shapes. For example, you can draw a stroke across the middle of a circle and quickly create two half-circles without opening any panel or choosing another tool. The Shape Builder tool can also break overlapping shapes to create distinct objects and easily adopts art styles when objects are merged. You can also enable the Color Swatch cursor to select colors for your artwork.

See “Building new shapes using the Shape Builder tool” on page 258.

Drawing enhancements

Symbol enhancements

Illustrator CS5 provides enhanced 9-slice scaling support. You can now directly use 9-slice scaling on symbols in Illustrator, which makes it easier to work with web elements such as rounded rectangle.

See “Symbol registration point” on page 103, “Use 9-slice scaling” on page 104, “Add sublayers for symbols” on page 104, “Reset transformations” on page 106.

Artboard ruler origin and coordinates enhancement

Artboard ruler origin and coordinates are now oriented from the upper left. Scripts that use a previous coordinate system also work correctly with this enhancement. You can also choose to work with a global ruler that provides coordinates across all your artboards, or work with local, artboard-specific rulers.

See “Use rulers” on page 43.

Path join enhancement

Join open paths in a single keystroke with objects selected. You can also choose to join open paths using corner joins or smooth joins.

See “Join two or more paths” on page 74.

Select behind capability

Use a keyboard shortcut to easily select an individual object located behind other objects.

See “Select behind objects” on page 207.

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What’s New

Draw behind and draw inside modes

Draw behind other objects without choosing layers or setting the stacking order. Draw or place an image inside a shape, including live text. The draw inside mode automatically creates a clipping mask from the selected object.

See “Draw Behind mode” on page 56, “Draw Inside mode” on page 56.

Roundtrip editing with Adobe Flash Catalyst CS5

Use Illustrator CS5 for interaction design, now enabled by new Adobe Flash Catalyst CS5, available with all the Adobe CS5 products. Develop your ideas and design your interface in Illustrator, creating screen layouts and individual elements such as logos and button graphics. Then open your artwork in Flash Catalyst and add actions and interactive components, without writing code. After adding interactivity to your designs, you can make edits and design changes directly in Illustrator. For example, you can edit the look of interactive button states in Illustrator while ensuring that the structure you added in Flash Catalyst is maintained.

See “Working with FXG” on page 402.

Resolution Independent Effects

With Resolution Independent Effects, raster effects such as Blur and Texture can maintain a consistent appearance across media.

You can create artwork for different types of output while maintaining the ideal appearance for raster effects. This is irrespective of any change in resolution setting from print to web to video. You can also increase the resolution and still maintain the appearance of raster effects. For low-resolution artwork, you can scale up the resolution for highquality printing.

See “About raster effects” on page 371.

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Chapter 2: Workspace

Click on the following links to learn about workspace and related elements. You can navigate to understand how various parts of a workspace can be managed.

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® 5 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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Workspace

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. In Illustrator, the Control panel displays options

for the currently selected object. (In Adobe Photoshop® this is known as the Options bar. In Adobe Flash®, Adobe Dreamweaver®, and Adobe Fireworks® this is known as the Property Inspector and includes properties of the currently selected element.)

• 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 Brush panel in

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

• 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.

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Workspace

If you are using a Mac and prefer the traditional, free-form user interface, 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 for Mac, and Dreamweaver for Mac 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

Tab.

• (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.

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.

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

(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.

Enter values in panels and dialog boxes

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

Enter a value in a panel or dialog box

❖ Do any of the following:

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

• Drag the slider.

• Drag the dial.

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

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

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

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

A B C

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

Calculate values in a panel or dialog box

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 %

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.

(percent).

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.

Change the kinds of controls that appear in the Control panel

❖ Select or deselect options in the Control panel menu.

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

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. For Fireworks, renaming custom workspaces can lead to unexpected behavior.

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

Rearrange, dock, or float 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 (float or untab) a Document window from a group of windows, drag the window’s tab out of the group.

Note: In Photoshop you can also choose Window > Arrange > Float in Window to float a single Document window, or Window > Arrange > Float All In Windows to float all of the Document windows at once. See tech note for more information.

Note: Dreamweaver does not support docking and undocking Document windows. Use the Document window’s Minimize button to create floating windows (Windows), or choose Window > Tile Vertically to create side-by-side Document windows. Search “Tile Vertically” in Dreamweaver Help for more information on this topic. The workflow is slightly different for Macintosh users.

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

• 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.

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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.

• 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

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.

Note: The position of the mouse (rather than the position of the panel), activates the drop zone, so if you can’t see the drop zone, try dragging the mouse to the place where the drop zone should be.

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

• To move a panel group, drag the title bar.

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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

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.

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.

Free-floating stacked panels

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

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• 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 double-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.

Collapse and expand panel 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 column, 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.

• 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.)

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• 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 icons).

Use panel menus

Access the panel menus using the icon on the upper-right corner of the panel.

Panel menu (Symbols panel)

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_en.

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.

Save a custom workspace

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

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

• (Photoshop, 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.

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

Panel Locations Saves the current panel locations (InDesign only).

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

Menus or Menu Customization Saves the current set of menus.

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.

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

Delete.

Restore the default workspace

1 Select the Default or Essentials workspace from the workspace switcher in the application bar. For Fireworks, see

the article

http://www.adobe.com/devnet/fireworks/articles/workspace_manager_panel.html.

Note: In Dreamweaver, Designer is the default workspace.

2 For Fireworks (Windows), delete these folders:

Windows Vista \\Users\<username>\AppData\Roaming\Adobe\Fireworks CS4\

Windows XP \\Documents and Settings\<username>\Application Data\Adobe\Fireworks CS4

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

(Photoshop) Restore a saved workspace arrangement

In Photoshop, workspaces automatically appear as you last arranged them, but you can restore the original, saved arrangement of panels.

• To restore an individual workspace, choose Window > Workspace > Reset Workspace Name.

• To restore all the workspaces installed with Photoshop, click Restore Default Workspaces in the Interface

preferences.

To rearrange the order of workspaces in the application bar, drag them.

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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.

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.

You can also use the Tools panel to change the drawing mode from Draw Normal to Draw Behind or Draw Inside.

> Tools.

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Tools panel overview

Selection tools

Indicates default tool * Keyboard shortcuts appear in parenthesis

Selection (V)

Direct Selection (A)

Group Selection

Magic Wand (Y)

Lasso (Q)

Artboard (Shift +O)

Drawing tools

Pen (P)

Add Anchor Point (+) 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

Perspective Grid (Shift+P)

Perspective Selection (Shift+V)

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

Width (Shift+W)

Warp (Shift-R) Twirl Pucker Bloat Scallop Crystallize Wrinkle

Free Transform (E) Shape Builder (Shift+M) 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)

Tools panel overview

View hidden tools

❖ Hold down the mouse button on the visible tool.

View tool options

❖ Double-click a tool in the Tools panel.

Move the Tools panel

❖ Drag its title bar.

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View the Tools panel in double-stack or single-column

❖ Click the double-arrow on the title bar to toggle between double-stack and single-column view of the Tools panel.

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. See “Select objects

with the Selection tool” on

page 208.

The Lasso tool (Q) selects points or path segments within objects. See “Select objects with the Lasso

tool” on page 208.

The Direct Selection tool (A) selects points or path segments within objects. See “Select paths,

segments, and anchor points” on

page 71.

The Artboard tool creates separate artboards for printing or export. See “Create an

artboard” on page 36.

More Help topics

“Keys for selecting” on page 481

Drawing tool gallery

Illustrator provides the following drawing tools:

The Group Selection tool selects objects and groups within groups. See “Select objects and

groups with the Group Selection tool” on page 211.

The Magic Wand tool (Y) selects objects with similar attributes. See “Select objects with the

Magic Wand tool” on page 208.

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The Pen tool (P) draws straight and curved lines to create objects. See “Drawing with the

Pen tool” on page 66.

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

lines with the Line Segment tool”

on page 56.

The Add Anchor Point tool (+) adds anchor points to paths. See “Adding and deleting anchor

points” on page 75.

The Arc tool draws individual concave or convex curve segments. See “Draw arcs” on page 59.

The Delete Anchor Point tool (-) deletes anchor points from paths. See “Adding and deleting

anchor points” on page 75.

The Spiral tool draws clockwise and counterclockwise spirals. See “Draw spirals” on page 59.

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

points and corner points” on

page 77.

The Rectangular Grid tool draws rectangular grids. See “Draw rectangular grids” on page 60.

The Polar Grid tool draws circular chart grids. See “Draw

circular (polar) grids” on

page 60.

The Rectangle tool (M) draws squares and rectangles. See “Draw rectangles and squares” on page 57.

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The Rounded Rectangle tool draws squares and rectangles with rounded corners. See “Draw rectangles and squares” on page 57.

The Ellipse tool (L) draws circles and ovals. See “Draw ellipses” on page 57.

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The Polygon tool draws regular, multi-sided shapes. See “Draw

polygons” on page 58.

The Smooth tool smooths Bezier paths. See “Smooth paths” on page 76.

The Star tool draws stars. See “Draw stars” on page 58.

The Path Eraser tool erases paths and anchor points from the object. See “Erase artwork” on page 79.

Type tool gallery

Illustrator provides the following type tools:

The Flare tool creates lens-flare or solar-flare-like effects. See “Drawing flares” on page 112.

The Perspective Grid allows creating and rendering artwork in perspective. See “About

Perspective Grid” on page 81.

The Pencil tool (N) draws and edits freehand lines. See “Drawing with the Pencil tool” on page 64.

The Perspective Selection tool allows you to bring objects, text, and symbols in perspective, move objects in perspective, move objects in perpendicular to its current direction. See “About

Perspective Grid” on page 81.

The Type tool (T) creates individual type and type containers and lets you enter and edit type. See “Enter text in

an area” on page 308.

The Area Type tool changes closed paths to type containers and lets you enter and edit type within them. See “Enter text in

an area” on page 308.

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

path” on page 315.

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

text in an area” on page 308.

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The Vertical Area Type tool changes closed paths to vertical type containers and lets you enter and edit type within them. See “Enter text in an area” on page 308.

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

type on a path” on page 315.

Painting tool gallery

Illustrator provides the following painting tools:

The Paintbrush tool (B) draws freehand and calligraphic lines, as well as art, patterns, and bristle brush strokes on paths. See “Draw paths and apply

brush strokes simultaneously”

on page 173.

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

objects” on page 195.

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

an object” on page 192.

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

appearance attributes using the Eyedropper tool” on page 369.

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

the Live Paint Bucket tool” on

page 168.

The Live Paint Selection (ShiftL)tool selects faces and edges within Live Paint groups. See “Select items in Live Paint

groups” on page 166.

The Measure tool measures the distance between two points. See “Measure the distance between

objects” on page 48.

Reshaping tool gallery

Illustrator provides the following tools for reshaping objects:

The Rotate tool (R) rotates objects around a fixed point. See “Rotate objects” on page 219.

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

flip objects” on page 221.

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

objects” on page 235.

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. See “Draw and merge paths with

the Blob Brush tool” on

page 157.

The Shear tool skews objects around a fixed point. See “Shear

objects with the Shear tool” on

page 237.

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

a path without distorting its overall shape” on page 75.

“Stretch parts of

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

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The Blend tool (W) creates a series of objects blended between the color and shape of multiple objects. See page 254.

“Create blends” on

The Width tool (Shift+W) allows you to create a stroke with variable width. See “Using

the Width tool” on page 160.

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

using a liquify tool” on page 239.

The Scallop tool adds random curved details to the outline of an object. See “Distort objects

using a liquify tool” on page 239.

The Twirl tool creates swirling distortions within an object. See “Distort objects using a liquify

tool” on page 239.

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

objects using a liquify tool” on

page 239.

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

objects using a liquify tool” on

page 239.

The Wrinkle tool adds wrinklelike details to the outline of an object. See “Distort objects using

a liquify tool” on page 239.

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

objects using a liquify tool” on

page 239.

The Shape Builder tool merges simple shapes to create custom, complex shapes. See “Building

new shapes using the Shape Builder tool” on page 258.

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.

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

sets” on page 109.

“Create symbol

The Symbol Shifter tool moves symbol instances and change stacking order. See “Change

stacking order of symbol instances in a set” on page 109.

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The Symbol Scruncher tool moves symbol instances closer together or farther apart. See “Gather or scatter symbol

instances” on page 110.

The Symbol Sizer tool resizes symbol instances. See “Resize

symbol instances” on page 110.

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The Symbol Spinner tool rotates symbol instances. See “Rotate

symbol instances” on page 110.

The Symbol Stainer tool colorizes symbol instances. See “Stain symbol instances” on page 110.

The Symbol Screener tool applies opacity to symbol instances. See “Adjust

transparency of symbol instances” on page 111.

The Symbol Styler tool applies the selected style to symbol instances. See “Apply a graphic

style to symbol instances” on

page 111.

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. See

B A

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

100

B A

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

“Create a graph” on page 463.

0 10 20 30 40 50 60 70 80

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

0 20 40 60 80 100

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

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50 40 30 20 10

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

50 40 30 20 10

100

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

10 20 30 40 50

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

D C B A

The Pie Graph tool creates circular graphs 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.“Create slices” on page 392

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

slices” on page 392

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

using the Eraser tool” on page 79

The Scissors tool (C) cuts paths at specified points. See “Split a

path” on page 80

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The Knife tool cuts objects and paths. See “Cut objects with the

Knife tool” on page 250.

Moving and zooming tool gallery

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

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

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

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

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.

Flash Catalyst Creates an FXG document in RGB mode with 800px x 600px artboard as the default size. Align to Pixel

Grid is enabled for new art in the document and the Raster Effects Resolution is set to 72ppi. It also has Swatches, Symbols, Graphic Styles and Brushes designed keeping Flash Catalyst and Flash Professional workflows in mind.

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.

For more information about creating custom new document profiles, see

www.adobe.com/go/learn_custom_document_profiles_en.

More Help topics

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). To view the Welcome screen, select Help > Welcome.

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

More Help topics

“About new document profiles” on page 27

“About templates” on page 30

“About transparency” on page 183

“Using Adobe Device Central with Illustrator” on page 389

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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 from New Document Profile select the required document

profile.

• 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 (pixelated) appearance. It does not actually rasterize the content, but

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

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• 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

preview your new document in the mobile device interface.

Align New Objects to Pixel Grid This option, if selected, aligns any new objects to the pixel grid. Because this option is

important for designs intended for display devices such as web, it is enabled by default for such documents. For more information, see

“Drawing pixel-aligned paths for web workflows” on page 61.

“About overprinting” on page 441.)

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.

More Help topics

“Create new documents” on page 28

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.

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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.

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.

More Help topics

“Change the unit of measurement” on page 44

“View transparency in artwork” on page 183

“Specify curly or straight quotes” on page 329

“Creating superscripts or subscripts” on page 329

Open a file

You can open files that were created in Illustrator as well as compatible 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

More Help topics

“Importing Adobe PDF files” on page 276

“Importing EPS files” on page 277

“Importing artwork from Photoshop” on page 279

> Open With > Adobe Illustrator CS5.

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Browse for files using Adobe Bridge

Adobe® Bridge is a cross-platform application included with Adobe® Creative Suite® 5 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.

• 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.

• 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.

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 Sign In to Adobe CS Live dialog box, enter your email address and password, and click Sign In. If you don’t

have an Adobe ID, click the Create Adobe ID button.

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 Adobe ConnectNow Help.

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

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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.)

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 an Illustrator CS3 document, the crop areas will be converted to artboards in CS5. 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 on the screen—even overlapping one another. Illustrator CS5 also provides options to reorder and rearrange artboards using the Artboards panel. You can also specify custom names for an artboard and set reference points for artboards.

, and position them anywhere

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 bound 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

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Printing and saving 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.

Illustrator CS4 allowed you to save artboards as separate files only when downsaved, but in Illustrator CS5, you can save individual artboards for current versions as well. The options to save each artboard as a separate .ai file is available in the Illustrator Options dialog box.

You can preview artboards from the print dialog box 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.

In Illustrator CS5, artboards in a document can automatically rotate to print to the chosen media size. Select the AutoRotate check box in the Print dialog box to set auto rotation for Illustrator documents. For a document created in CS5, Auto-Rotate is enabled by default.

For example, consider a document with both landscape (width is more than height) and portrait (height is more than width) media size. If you select the paper size as portrait in the Size of the Print dialog box, then the landscape artboards automatically rotate to portrait media when printing.

Note: If Auto-Rotate is selected, you cannot change the direction of the page.

More Help topics

“Change the page size and orientation” on page 420

“Reposition artwork on the page” on page 418

“Tile artwork on multiple pages” on page 419

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 video 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 Rulers.

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

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

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

Artboards panel

The Artboards panel allows you to perform various artboard operations such as:

• Add, reorder, rearrange, and delete artboards

• Reorder and renumber artboards

• Select and navigate through multiple artboards

• Specify artboard options such as presets, Artboard size, and relative artboard position

ABC

Artboards panel A. Up and Down Arrows to reorder artboards in the Artboards panel B. Add new artboards C. Delete artboards

• To access the Artboards panel, click Window > Artboards.

• To add artboards, do any one of the following:

• Click the New Artboard icon at the bottom of the Artboards panel.

• Select the New Artboard option from the Artboards panel menu (flyout menu) of the Artboards panel.

• To delete a single artboard or multiple artboards, do the following:

• Select the artboard to delete. To delete multiple artboards, press Shift key, and click the artboards listed in the

Artboards panel.

• Click the Delete Artboard icon at the bottom of the Artboards panel or select the Delete option from the

Artboards panel menu (flyout menu). To delete multiple non-contiguous artboards, press Ctrl (Windows) or Command (Mac OS) key and click the artboards from the Artboards panel.

• To rearrange artboards in the Artboards panel, select the Rearrange Artboards option from the Artboards panel

menu (flyout menu). Notice, however, that rearranging the artboards does not change the order the artboards.

• To duplicate artboards, do the following:

• Select the artboard that you want to duplicate. You can also duplicate artboards by dragging one or more

artboards on to the new artboard button in Artboards panel.

• From the Artboards panel menu, select Duplicate.

• To reset the artboard options, such as presets, artboard position, and display, select Artboards Options from the

Artboards panel menu (flyout menu).

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For a video on using the Artboards panel, see www.adobe.com/go/lrvid5202_ai_en.

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.

• 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.

• 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.

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

; then click where you want to place the duplicated

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/lrvid5202_ai_en.

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 navigate 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.

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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.

2 Do one of the following:

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

, 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.

Reorder artboards

In the Artboards panel, you can use the Up and Down Arrows at the bottom of the panel to reorder the artboards. However, reordering artboards in the Artboards panel, does not reorder the artboards in the work area.

Rearrange artboards

To fit all artboards in view, you can rearrange artboards using the Grid by Row, Grid by Column, Arrange by Row, and Arrange by Column options.

To rearrange artboards, do the following:

1 Click the Artboards panel menu (flyout menu) and select the Rearrange Artboards option.

2 In the Rearrange Artboards dialog box, select the layout. The options are:

Grid by Row Arranges multiple artboards in the specified number of rows. Specify the number of rows in the Rows

box. 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 all the artboards in a single row.

Arrange by Column Arranges all the artboards in a single column.

Change to Right-to-Left Layout/Change to Left-to-Right Layout Arranges the artboards from left to right or right to

left. By default, artboards are arranged from left to right.

Note: If you select the Change to Right-to-Left Layout option, the Grid by Row and Grid Column options change to Right-to-Left Grid by Row and Right-to-Left Grid by Column.

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

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4 Select the Move Artwork with Artboard option to move the artwork whenever the artboards location changes.

Additionally, an artboard within an artboard is treated like a crop area and is moved along with the containing artboard.

Customize artboard names

Each artboard can now be given a custom name, when in artboard edit mode.

To assign a custom name to an artboard, do the following:

1 Select the Artboard Tool to edit the artboard.

2 Select the artboard and specify the artboard name in the Name box of the Artboard Control Panel.

Alternatively, you can provide a custom name in the Name field of the Artboard Options dialog box. To open the dialog box, click Artboard Options in the Artboards Panel menu (flyout menu). Click OK to commit the new name for the chosen artboard.

The new artboard name appears on the upper-left side of the artboard. The custom name also shows up in the Artboard Navigation field and drop-down next to document’s status area.

If you assign a custom name to artboards, these names are added as suffix to the filename while saving artboard specific files to all formats.

Enter a custom name for an artboard in the Control panel.

Note: To return to the default name, clear the name of the artboard from the Name field in the Control panel.

9-point referencing

To set reference points for artboards, use the Artboard Options dialog box or the Artboard options in the Control panel.

This option allows you to hinge a corner or center of an artboard while its size is being changed.

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 Video Ruler Pixel Aspect Ratio (VPAR) 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 video ruler in Illustrator to use a video ruler 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).

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Artboard with rulers

Display center mark, cross hairs, or video safe areas

The center mark, cross hairs, and video safe area are video properties that assist you in creating videos while using Creative Suite products. To display these properties:

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.

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.

More Help topics

“Edit artboards” on page 36

“Change the unit of measurement” on page 44

“View transparency in artwork” on page 183

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“Specify curly or straight quotes” on page 329

“Creating superscripts or subscripts” on page 329

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

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.

More Help topics

“Change the page size and orientation” on page 420

“Tile artwork on multiple pages” on page 419

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.

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

More Help topics

“Moving and zooming tool gallery” on page 27

“Keys for viewing artwork” on page 478

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.

More Help topics

“Moving and zooming tool gallery” on page 27

“Keys for viewing artwork” on page 478

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.

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More Help topics

“Manage windows and panels” on page 10

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.

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

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

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

> Document Setup, 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

More Help topics

“Layers panel overview” on page 223

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.

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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.

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

More Help topics

“About overprinting” on page 441

“About pixel preview mode” on page 388

“Using Adobe Device Central with Illustrator” on page 389

“Preview which areas of artwork will be flattened” on page 438

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.

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In Illustrator CS5, rulers are similar to other Creative Suite applications like InDesign and Photoshop. Illustrator provides separate rulers for documents and artboards. You can select only one of these rulers at one point.

Note: Window rulers would be called Global rulers in this document.

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

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 top-left corner of the artboard.

The difference between artboard rulers and global rulers is that if you select artboard rulers, the origin point changes based on the active artboard. In addition, you can have different origin points for artboard rulers. Now, if you change the artboard ruler origin, the pattern fills in objects on the artboards are not affected.

The default origin point for the global ruler is at the upper-left corner of the first artboard and the default origin for the artboard rulers is at the top left corner of the respective artboard.

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

• To toggle between artboard rulers and global rulers, click the View > Rulers > Change to Global Rulers or View >

Rulers > Change to Artboard Rulers. By default, artboard rulers are displayed, so Change to Global Rulers option is displayed under Rulers sub-menu.

• To show or hide video rulers, choose View > Show Video Rulers or View > Hide Video 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 Global ruler origin.

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

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

The coordinate system has now been switched to fourth quadrant, which was previously the first quadrant. In Illustrator CS5, when you move downwards, the value of y-axis increases and if you move toward right, the value of xaxis increases.

For saving to legacy versions of Illustrator, the Global rulers remain at the position set in legacy document. Although, the origin point does not move to upper left, the coordinate system changes to fourth quadrant.

The change in coordinate system and the ruler origin does not apply to scripting, which allows you to retain old scripts. However, when you transform objects using scripting, the Y coordinate values differ from the values that you set in the Illustrator user interface. For example, if you apply a move operation of say Y= +10 points, then to emulate the same movement with scripting, apply a transformation of Y = -10pts.

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 (Windows) or Illustrator >

Preferences 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.

> Units (Mac OS), and then select units for the General, Stroke, and Type options. If Show Asian

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• 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

OK.

• 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).

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.

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.

OS).

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

4 If you want to restrict the guides to an artboard and not to the entire canvas, then select the Artboard tool and then

drag the guides on to the artboard.

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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.

• 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.

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• 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.

• 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

In Illustrator CS5, you can create editable trim/crop marks or create crop marks as live effects.

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To use crop marks, do the following:

1 Select the object.

2 To create editable trim marks or crop marks, select Object > Create Trim Marks.

3 To create crop marks as live effect, select Effect > Crop Marks.

Delete crop marks

To delete an editable crop or trim marks, select the trim marks and press the Delete key.

To delete a crop marks effect, select Crop Marks in the Appearance panel, and 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

• 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.

as you drag.

or reflection .

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• 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 CS5 Settings folder. This folder contains various preferences that can be regenerated.

Setting Illustrator preferences

The Illustrator preferences file manages the commands and panel settings in Illustrator. When you open Illustrator, the positioning of panels and commands are stored in the Illustrator preferences file. If you want to restore the default settings for Illustrator or change the current settings, delete the Illustrator preferences. Illustrator automatically creates a preference file, when you restart Illustrator and save a file.

Depending on the operating system that you are using, the Illustrator preferences file is available at the following location:

Note: The folder name may vary depending on the language version you have installed.

Mac OS X

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<startup drive>/Users/<username>/Library/Preferences/Adobe Illustrator CS5 Settings/en_US*/Adobe Illustrator Prefs

Windows XP

<startup drive>\ Documents and Settings\<username>\Application Data\Adobe\Adobe Illustrator CS5 Settings\en_US*\AIPrefs

Windows Vista or Windows 7

<startup drive>\Users\<username>\AppData\Roaming\Adobe\Adobe Illustrator CS5 Settings\en_US*\AIPrefs.

Note: In Windows XP, the Application Data folder is hidden by default. The same is true for the AppData folder in Windows Vista and Windows 7. To make this folder visible, open Folder Options in Control Panel and click the View tab. In the Advanced Settings pane, select the Show Hidden Files and Folders or Show hidden files, folders, or drives option.

If you cannot locate the preferences file, use your operating system’s Find command, and search for AIPrefs (Windows) or Adobe Illustrator Prefs (Mac OS).

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.

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.

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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.

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Chapter 3: Drawing

Click on the following links to learn various drawing techniques and to gather more insights on drawing using Illustrator. Understand how to draw lines, shapes and various other geometrical forms.

Drawing basics

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. Here is a video that simplifies drawing in Illustrator CS 5.

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.

More Help topics

“About bitmap images” on page 274

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

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

A B C

Points on a path 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).

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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.

More Help topics

“Specify selection preferences” on page 205

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.

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 modes

Illustrator CS5 provides the following drawing modes:

• Draw Normal ( )

• Draw Behind ( )

• Draw Inside ( )

A dotted open rectangle like the one shown in the illustration C, is displayed when an object with Draw Inside mode is active.

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The Draw Normal mode is the default drawing mode. You can select drawing modes from the Tools panel, below the Color Selector tool.

Drawing Modes panel

To switch through drawing modes, click the Drawing Modes panel in the Tools panel and select the drawing mode. You can also use the Shift+D keyboard shortcut to cycle through the drawing modes.

Note: The options, Paste, Paste in Place, and Paste on All Artboards honor the drawing modes. However, Paste in Front and Paste in Back commands are not affected by the drawing modes.

For a video on using the different drawing modes, see www.adobe.com/go/lrvid5209_ai_en.

Draw Behind mode

The Draw Behind mode allows you to draw behind all artwork on a selected layer if no artwork is selected. If an artwork is selected, the new object is drawn directly beneath the selected object.

The draw behind mode is honored in the following cases:

• Creating new layers

• Placing symbols

• Placing files from the File menu

• Using Alt+Drag to duplicate objects

• Using Paste in Place and Paste on All Artboards options

Draw Inside mode

The Draw Inside mode allows you to draw inside the selected object. The Draw Inside mode eliminates the need to perform multiple tasks such as drawing and altering stacking order or drawing, selecting, and creating a clipping mask.

The draw inside mode is enabled only when there is a single selected object (path, compound path, or text).

To create clipping masks using the Draw Inside mode, select the path within which you want to draw and switch to the Draw Inside mode. Subsequent paths are clipped by the path that was selected when you switch to the Draw Inside mode, until you switch to the Draw Normal mode (Shift+D or double-click).

Note: The clipping masks created using Draw Inside retain the appearance on the clipping path unlike the menu command Object > Clipping Mask > Make.

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.

www.adobe.com/go/vid0036.

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

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

OK.

More Help topics

“Drawing tool gallery” on page 19

“Keys for drawing” on page 479

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.

OK.

More Help topics

“Drawing tool gallery” on page 19

“Keys for drawing” on page 479

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.

• 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.

Note: You cannot change the corner radius after you’ve drawn a rounded rectange. If you feel that you might need to change the corner radius, draw a normal rectange and choose Effect > Convert to Shape > Rounded Rectange and specify the rounded rectange parameters. To modify the corner radius or other parameters modify the effect parameters from the Appearance panel.

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

Draw ellipses

1 Select the Ellipse tool . Click and hold the rectangle tool to see and choose the ellipse tool. For more information

on selecting tools see “Select a tool” on page 18.

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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.

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

OK.

More Help topics

“Drawing tool gallery” on page 19

“Keys for drawing” on page 479

“Tools panel overview” on page 16

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.

More Help topics

“Drawing tool gallery” on page 19

“Keys for drawing” on page 479

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 decrease the number of points in the star, you can also use the up and down arrow keys while drawing the star.

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

OK. To increase or

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More Help topics

“Drawing tool gallery” on page 19

“Keys for drawing” on page 479

Draw arcs

1 Select the Arc tool .

2 Do one of the following:

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

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

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

Length X-Axis Specifies the width of the arc.

Length Y-Axis Specifies the height of the arc.

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

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

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

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

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

Fill Arc Fills the arc with the current fill color.

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

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

More Help topics

“Drawing tool gallery” on page 19

“Keys for drawing” on page 479

Draw spirals

1 Select the Spiral tool .

2 Do one of the following:

• Drag until the spiral is the desired size. Drag the pointer in an arc to rotate the spiral.

• Click where you want the spiral to begin. In the dialog box, set any of the following options, and click OK.

Radius Specifies the distance from the center to the outermost point in the spiral.

Decay Specifies the amount by which each wind of the spiral should decrease relative to the previous wind.

Segments Specifies how many segments the spiral has. Each full wind of the spiral consists of four segments.

Style Specifies the direction of the spiral.

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

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More Help topics

“Drawing tool gallery” on page 19

“Keys for drawing” on page 479

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.

More Help topics

“Drawing tool gallery” on page 19

“Keys for drawing” on page 479

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).

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.

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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 pixel-aligned paths for web workflows

Pixel-aligned is an object level property, which enables an object to have its vertical and horizontal paths aligned to the pixel grid. This property remains with the object when the object is modified. Any vertical or horizontal path in the object gets aligned to pixel grid as long as the property is set for it.

An illustration showing pixel-aligned objects and objects that are not pixel-aligned A. Object is not pixel-aligned B. Object is pixel-aligned

For a video on drawing pixel-aligned paths for web workflows, see www.adobe.com/go/lrvid5201_ai_en.

Aligning new objects to pixel grid

The Align New Objects to Pixel Grid option is available in the Advanced section of the New Document dialog box.

This option is also available in the Transform panel menu (flyout menu) of the Transform panel.

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Align New Objects to Pixel Grid option in the Transform panel menu

If you enable this option, any new objects that you draw have the pixel-aligned property set by default. For new documents created using the web document profile, this option is enabled by default.

The crisp appearance of pixel-aligned strokes is maintained in the raster output at a resolution of 72-ppi only. For other resolutions, there is a high possibility of such strokes producing anti-aliased results.

Objects that are pixel-aligned, but do not have any straight vertical or horizontal segments, are not modified to align to the pixel grid. For example, because a rotated rectangle does not have straight vertical or horizontal segments, it is not nudged to produce crisp paths, when the pixel-aligned property is set for it.

Note: The document level property and pixel-aligned status of each object are saved in the .ai file.

For more information on aligning symbols to pixel grid, see “Aligning symbols to pixel grid” on page 63.

Aligning existing objects to pixel grid

An object with the Align to Pixel Grid option selected, is nudged to align to pixel grid whenever it is modified. For example, if you move or transform a pixel-aligned object, the object is realigned to pixel grid according to its new coordinates.

To align an existing object to pixel grid, select the object and check the Align to Pixel Grid check box at the bottom on the Transform panel.

Align to Pixel Grid option in the Transform panel

When you select this option, the vertical and horizontal segments of the paths of the object are nudged. As a result, the appearance of such segments always shows crisp strokes, for all stroke widths and all locations. Objects with this option selected, always have stroke widths in full integer values.

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Bringing non-aligned objects into documents with the Align New Objects to Pixel Grid option enabled, does not automatically pixel-align such objects. To make such objects pixel-aligned, select the object and then select the Align to Pixel Grid option from the Transform panel. You cannot pixel-align objects such as rasters, raster effects, and text objects because such objects do not have real paths.

Selecting objects not aligned to pixel grid

Click Select > Object > Not Aligned to Pixel Grid to select the objects.

Aligning symbols to pixel grid

To create a pixel-aligned symbol, select the Align to Pixel Grid option from the Symbol Options dialog box. Symbols aligned to pixel grid remain aligned to the pixel grid at all locations of the artboard, in their actual size.

Note: A scaled symbol may not produce crisp paths although it is pixel-aligned by property.

For more information on aligning to pixel grid, see “Drawing pixel-aligned paths for web workflows” on page 61.

If the Reset button in the Control panel is active, it implies that the symbol has been transformed and is not in its actual size.

Viewing the pixel grid

To view the pixel grid, zoom to 600% or higher in Pixel Preview mode.

To set the preferences for viewing pixel grid, click Preferences> Guides & Grid. Select the Show Pixel Grid (Above 600% Zoom) option if it is not already selected.

Saving selected slices

To save only selected slices from the artwork, click File > Save Selected Slices.

Anti-aliasing options

Text anti-aliasing

The Character panel in Illustrator provides the following text anti-aliasing options:

• None

• Sharp

• Crisp

• Strong

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Text anti-aliasing options in the Character panel

You can set anti-aliasing options for each text frame. These text anti-aliasing attributes get saved as part of the document. These options are also supported for PDF, AIT, and EPS formats. Text anti-aliasing options can be exported to or imported from PSD.

While exporting to BMP, PNG, Targa, JPEG, or TIFF formats the following options are available in the anti-aliasing drop-down list: None, Art Optimized and Type Optimized.

• Art optimized option produces raster for each of these formats in the same way as in earlier versions. However, text

anti-aliasing options are not honored while rasterizing the artwork in this case.

• Type optimized option honors the newly introduced anti-aliasing options for the text frames in the raster produced.

These options are also available in Save for Web dialog box.

Drawing with the Pencil tool

Draw with the Pencil tool

The Pencil tool works primarily the same way in Adobe Illustrator and InDesign. It lets you draw open and closed paths as if you were drawing with a pencil on paper. It is most useful for fast sketching or creating a hand-drawn look. Once you draw a path, you can immediately change it if needed.

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

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

More Help topics

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.

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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.

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.

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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.

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.

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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

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

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

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

To leave the path open, you can also select a different tool, or choose Select > Deselect in Illustrator or Edit > Deselect All in InDesign. In InDesign or Illustrator, you can also simply press Enter or Return to leave the path open.

Draw curves with the Pen tool

You create a curve by adding an anchor point where a curve changes direction, and dragging the direction lines that shape the curve. The length and slope of the direction lines determine the shape of the curve.

Curves are easier to edit and your system can display and print them faster if you draw them using as few anchor points as possible. Using too many points can also introduce unwanted bumps in a curve. Instead, draw widely spaced anchor points, and practice shaping curves by adjusting the length and angles of the direction lines.

1 Select the Pen tool.

2 Position the Pen tool where you want the curve to begin, and hold down the mouse button.

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

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

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

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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.

ABC

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.

ABC

Drawing an S curve A. Starting to drag new smooth point B. Dragging in same direction as previous direction line, creating an S curve C. Result after releasing mouse button

(Photoshop only) To change the direction of the curve sharply, release the mouse button, and then Alt-drag (Windows) or Option-drag (Mac OS) the direction point in the direction of the curve. Release the Alt (Windows) or

Option (Mac

OS) key and the mouse button, reposition the pointer where you want the segment to end, and drag in the

opposite direction to complete the curve segment.

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

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

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

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6 Complete the path by doing one of the following:

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

tool pointer

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

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

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

To leave the path open, you can also select a different tool, or choose Select > Deselect in Illustrator or Edit > Deselect All in InDesign.

For a video on using the Pen tool in Illustrator, see www.adobe.com/go/vid0037.

More Help topics

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

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

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

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

To leave the path open, you can also select a different tool, or choose Select > Deselect in Illustrator or Edit > Deselect All in InDesign. In InDesign, you can also simply press Enter or Return to leave the path open.

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.

ABC

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

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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.

Drawing a curved segment followed by a straight segment (part 1) A. First smooth point of curved segment completed and Pen tool positioned over endpoint B. Dragging to complete the curve

3 Position the Pen tool over the selected endpoint. A convert-point icon appears next to the Pen tool when it is

positioned correctly. Click the anchor point to convert the smooth point to a corner point.

4 Reposition the Pen tool where you want the straight segment to end, and click to complete the straight segment.

Drawing a curved segment followed by a straight segment (part 2) C. Positioning Pen tool over existing endpoint D. Clicking endpoint E. Clicking next corner point

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.

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

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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.

AB C

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

Editing paths

Select paths, segments, and anchor points

Before you can reshape or edit a path, you need to select the path’s anchor points, segments, or a combination of both.

Select anchor points

• If you can see the points, you can click them with the Direct Selection tool to select them. Shift-click to select

multiple points.

• Select the Direct Selection tool and drag a boundary around the anchor points. Shift-drag around additional anchor

points to select them.

• Make sure the path that contains the anchor points is not selected. Move the Direct Selection tool over the anchor

point until the pointer displays a hollow square, and then click the anchor point. Shift-click additional anchor points to select them.

• (Illustrator only) Select the Lasso tool, and drag around the anchor points. Shift-drag around additional anchor

points to select them.

Select path segments

Do any of the following:

• Select the Direct Selection tool , and click within 2 pixels of the segment, or drag a marquee over part of the

segment. Shift-click or Shift-drag around additional path segments to select them.

• (Illustrator only) Select the Lasso tool , and drag around part of the path segment. Shift-drag around additional

path segments to select them.

Select all anchor points and segments in a path

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.

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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.

More Help topics

“Select paths, segments, and anchor points” on page 71

“Reshaping tool gallery” on page 23

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.

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°.

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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.

• 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.

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• 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.

A B

Joining endpoints

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

Note: In Illustrator CS5, only corner joins are used to join open paths.

Join two or more paths

Illustrator CS5 provides the option to join two or more open paths. To join one or more open paths, use the Selection tool to select the open paths and click Object > Path > Join. You can also use the keyboard shortcut Ctrl+J (Windows) or Cmd+J (Mac).

When anchor points are not overlapping, Illustrator adds a line segment to bridge the paths to join. While joining more than two paths, Illustrator first looks for and joins the paths that have end points stationed closest to each other. This process is repeated until all paths are joined. If you select only one path to join, it is converted into a closed path.

Note: In this process, you may lose complex aspects of your art styles.

The output path has the appearance of the topmost path in the selection.

The join option only results in a corner join regardless of whether you select anchor points to join or the entire path. However, for overlapping anchor points, if you want the option to select a smooth or corner join, then use Ctrl+Shift+Alt+J (Windows) or Cmd+Shift+Option+J (Mac OS).

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.

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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.

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.

More Help topics

“Drawing tool gallery” on page 19

“Select paths, segments, and anchor points” on page 71

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.

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2 Choose Select > Object > Stray Points.

3 Choose Edit > Cut or Edit > Clear commands, or press Delete or Backspace on the keyboard.

Disable or temporarily override automatic Pen tool switching

You can temporarily override or disable automatic switching to the Add Anchor Point tool or Delete Anchor Point tool.

• To temporarily override switching, hold down Shift as you position the Pen tool over the selected path or an anchor

point. This is useful when you want to start a new path on top of an existing path. To prevent Shift from constraining the Pen tool, release Shift before you release the mouse button.

• To disable switching, choose Edit > Preferences > General (Windows) or Illustrator > Preferences > General

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.

More Help topics

“Drawing tool gallery” on page 19

“Keys for editing shapes” on page 482

“Select paths, segments, and anchor points” on page 71

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.

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Simplify paths

Simplifying a path removes extra anchor points without changing the shape of the path. Removing unnecessary anchor points simplifies your artwork, reducing the file size, and making it display and print faster.

1 Select the object.

2 Choose Object > Path > Simplify.

3 Set the Curve Precision to control how closely the simplified path follows the original path.

Select Preview to show a preview of the simplified path and list the number of points in the original and simplified paths.

4 Select additional options, and click OK:

Curve Precision Enter a value between 0% and 100% to set how closely the simplified path should follow the

original path. A higher percentage creates more points and a closer fit. Any existing anchor points are ignored except for endpoints of a curve and corner points (unless you enter a value for Angle Threshold).

Angle Threshold Enter a value between 0 and 180° to control the smoothness of corners. If the angle of a corner

point is less than the angle threshold, the corner point is not changed. This option helps keep corners sharp, even if the value for Curve Precision is low.

Straight Lines Creates straight lines between the object’s original anchor points. Corner points are removed if they

have an angle greater than the value set in Angle Threshold.

Show Original Shows the original path behind the simplified path.

Average the position of anchor points

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.

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.

More Help topics

“About paths” on page 52

“Drawing tool gallery” on page 19

“About direction lines and direction points” on page 53

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

button in the Control panel.

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

Anchor Points To Corner

button in the Control panel.

Convert an anchor point precisely using the Convert Anchor Point tool

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

2 Select the Convert Anchor Point tool .

3 Position the Convert Anchor Point tool over the anchor point you want to convert, and do one of the following:

• To convert a corner point to a smooth point, drag a direction point out of the corner point.

Dragging a direction point out of a corner point to create a smooth point

• To convert a smooth point to a corner point without direction lines, click the smooth point.

Clicking a smooth point to create a corner point

• 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.

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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.

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.

lets you erase parts of a path by drawing along the path. This tool is useful when you

More Help topics

“Drawing tool gallery” on page 19

“Keys for editing shapes” on page 482

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

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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.)

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:

higher the value, the greater the roundness.

Fixed Uses a fixed angle, roundness, or diameter.

Random Uses random variations in angle, roundness, or diameter. Enter a value in the Variation text box to specify

the range within which the brush characteristic can vary. For example, when the Diameter value is 15 and the Variation value is 5, the diameter can be 10, or 20, or any value in between.

Pressure Varies in angle, roundness, or diameter based on the pressure of a drawing stylus. This option is most useful

when used with Diameter. It is available only if you have a graphics tablet. Enter a value in the Variation text box to specify how much more or less the original value the brush characteristic will vary. For

example, when the Roundness value is 75% and the Variation value is 25%, the lightest stroke is 50% and the heaviest stroke is 100%. The lighter the pressure, the more angular the brush

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

stroke.

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.

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• 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.

• 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).

More Help topics

“Cut objects with the Knife tool” on page 250

Perspective drawing

Introducing perspective drawing

In Illustrator CS5, you can easily draw or render artwork in perspective using a feature set that works on established laws of perspective drawing.

Perspective grid allows you to approximately represent a scene on a flat surface, as it is naturally perceived (by the human eye). For example, a road or a pair of railway tracks, which seem to meet or vanish in the line of vision.

The following features in Illustrator facilitate drawing in perspective:

• Utilities to define or edit one, two, and three vanishing point perspectives in a document.

• Control different perspective-defining parameters interactively.

• Create objects directly in perspective.

• Bring existing objects in perspective.

• Transform objects in perspective (move and scale objects).

• Move or duplicate objects toward a perpendicular plane (perpendicular movement).

• Define real work objects and draw objects with the specified real world measurements in perspective.

For a video on perspective drawing, see www.adobe.com/go/lrvid5205_ai_en.

About Perspective Grid

To view the default two-point perspective grid in a document, you can do any of the following:

• Click View > Perspective Grid > Show Grid.

• Press Ctrl+Shift+I (on Windows) or Cmd+Shift+I (on Mac) to show the Perspective Grid. The same keyboard

shortcut can be used to hide the visible grid.

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• Click the Perspective Grid tool from the Tools panel.

BCDE

Perspective Grid A. Plane switching widget B. Left Vanishing Point C. Vertical Grid Extent D. Perspective Grid Ruler E. Right Vanishing Point F. Horizon Line G. Horizon Height H. Ground Level I. Horizon Level J. Extent of Grid K. Grid Cell Size L. Ground Level M. Extent of Grid N. Right Grid Plane Control O. Horizontal Grid Plane Control P. Left Grid Plane Control Q. Origin

The Perspective Grid tool group consists of the Perspective Grid tool and the Perspective Selection tool .

You can select the Perspective Grid tool from the Tools panel or press Shift+P. When the Perspective Grid tool is selected, it shows:

• Left and right grid controls to adjust planes (see “Adjust vanishing points, grid planes, horizon height, grid cell size,

and grid extent” on page 86)

• Horizon height (see “Precise perpendicular movement” on page 92)

• Left and right vertical plane position

• Visibility and extent of a grid cell

• Grid cell size

• Origin

• Left and right ground level widgets used for grid movement (see “Move the perspective grid” on page 86)

In addition, when you select the Perspective Grid, a Plane Switching Widget also appears. You can use this widget to select the active grid plane. In Perspective Grid, an active plane is the plane on which you draw an object to project the observer’s view of that portion of the scene.

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A. Left Grid Plane B. No Active Grid Plane C. Right Grid Plane D. Horizontal Grid Plane

Plane Switching Widget

For a video on defining the perspective grid, see www.adobe.com/go/lrvid5205_ai_en.

You can set options to position the widget on any of the four screen corners and choose to display it when the Perspective Grid is visible. To set these options, double-click the Perspective Grid icon in the Tools panel. In the Perspective Grid Options dialog box, you can select the following:

Show Active Plane Widget This option is selected by default. If you deselect this check box, then the widget is not

displayed with the Perspective Grid.

Widget Position You can choose to display the widget on the upper left, upper-right, lower-left, or lower-right corner

of the document window.

When you select the Perspective Selection tool, the left, right, and horizontal grid controls are displayed. You can switch to the Perspective Selection tool by pressing Shift+V or selecting it from the Tools panel. The Perspective Selection tool enables you to:

• Bring objects, texts, and symbols in perspective

• Switch active planes using keyboard shortcuts

• Move, scale, and duplicate objects in perspective space

• Move and duplicate objects perpendicular to its current position in the perspective plane. (see “Precise

perpendicular movement” on page 92)

With the Perspective Selection tool, the active planes in the perspective grid are indicated by the following pointers.

Active Plane Pointers

Left Grid Plane

Right Grid Plane

Horizontal Grid Plane

The Perspective Selection tool snaps the objects to the grid of the active plane while moving, scaling, duplicating, and bringing objects into perspective. Objects snap to the grid lines within 1/4th distance of the cell size.

You can enable or disable snapping from View > Perspective Grid > Snap to Grid.

This option is enabled by default.

Perspective grid presets

Illustrator provides presets for one-point, two-point, and three-point perspectives.

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Perspective Grid Presets A. 1-point perspective B. 2-point perspective (default) C. 3-point perspective

To select one of the default perspective grid preset, click View> Perspective Grid and then select from the required preset.

Define grid presets

To define grid settings, click View > Perspective Grid > Define Grid. In the Define Perspective Grid dialog box, you can configure the following attributes for a preset:

Name To save a new preset, select the Custom option from the Name drop-down list.

Type Select the type of preset: One Point Perspective, Two Point Perspective, or Three Point Perspective.

Units Select the units to measure the grid size. The options are centimeters, inches, pixels, and points.

Scale Select the grid scale to view or set the artboard and real-world measurements. To customize the scale, select the

Custom option. In the Custom Scale dialog box, specify the Artboard and Real World proportions.

Gridline every This attribute determines the grid cell size.

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Viewing Angle Imagine a cube in such an orientation that no face is parallel to the picture plane (in this case the

computer screen). Viewing Angle is the angle which the right face of this imaginary cube makes with the picture plane. Therefore, the viewing angle determines the positions of the left and right vanishing points from the observer. A viewing angle of 45° implies that the two vanishing points are equidistant from the line of vision of the observer. If the viewing angle is greater than 45°, then the right vanishing point is closer to and the left vanishing point is farther away from the line of vision and vice versa.

Viewing Distance Distance between the observer and the scene.

Horizon Height Specify the horizon height (observer’s eye level) for the preset. The height of the horizon line from the

ground level is displayed in the smart guide readout.

Third Vanishing Point This option is enabled when you select the three-point perspective. You can specify the x and y

coordinates for the preset in the X and Y boxes.

To change the colors for the left, right, and horizontal grids, select the color from the Left Grid, Right Grid, and Horizontal Grid drop-down lists. You can also select a custom color from using the Color Selector as well.

Use the Opacity slider, to change the opacity of the grid.

To save the grid as a preset, click the Save Preset button.

Edit, delete, import, and export grid presets

To edit grid presets, click Edit > Perspective Grid Presets. In the Perspective Grid Presets dialog box, select the preset to edit and click Edit.

Perspective Grid Presets dialog box

The Perspective Grid Preset Options dialog box opens in edit mode. Enter the new grid setting and click OK to save the new grid settings.

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You cannot delete the default presets. To delete a user-defined preset, click Delete in the Perspective Grid Presets dialog box.

Illustrator also allows you to import and export user-defined presets. To export a particular preset, click Export in the Perspective Grid Presets dialog box. To import a preset, click Import.

Move the perspective grid

Illustrator can create only one grid in an Illustrator document. You can move the grid across artboards using the Ground level widget while the Perspective Grid tool is selected, to place it at the required position.

Note: You must select the Perspective Grid tool to perform this task because the ground level widget is not displayed if this tool is not selected.

To move the perspective grid do the following:

1 Select the Perspective Grid tool from the Tools panel or press Shift+P.

2 Drag-and-drop the left or right ground level widget on the grid. When you move the pointer over the ground level

point, the pointer changes to

Moving the perspective grid across artboards using the left ground level widget (shown as A)

Adjust vanishing points, grid planes, horizon height, grid cell size, and grid extent

You can manually adjust vanishing points, grid plane controls, horizon height, and cell size using the respective widgets. However, these widgets are only visible with the Perspective Grid tool selected.

To adjust the left and right vanishing points use the left and right vanishing point widgets. Notice that the pointer changes to a two-way arrow pointer (

Note: While adjusting the third vanishing point in 3-point perspective, holding down the Shift key constrains the movement to vertical axis.

) when you move the pointer over the vanishing points.

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Moving the right vanishing point in a two-point perspective grid

Note: If you lock the station point using the View > Perspective Grid > Lock Station Point option, then both the vanishing points move together.

Both vanishing points move when station point is locked.

You can also adjust the left, right, and horizontal grid planes using the respective grid plane control widgets. The pointer changes to a two-way arrow (

, ) when you move the pointer over the grid plane controls.

Holding the Shift key while moving the grid planes, constrains the movement to the extent of cell size.

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Adjusting the left and right grid planes in a two-point perspective

If you shift the origin, the x and y coordinates of the horizontal plane and the x coordinate of vertical planes are affected. When you select an object in perspective while the grid is visible, the x and y coordinates displayed in the Transform and Info panels change with shift in origin. You can also see the change in coordinate measurements when you draw objects using the rectangle or line group tools and press Shift, while the relevant grid plane is active. If you move the mouse over the origin, the pointer changes to

Note: If you move the ruler origin, you can see the station point.

Changing the ruler origin and viewing the station point A. Station Point B. Changed Ruler Origin

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Adjust horizon height to fine-tune the observer's eye-level. When you move the pointer over the horizon line, the pointer changes to a vertical two-way arrow

Adjusting the horizon height in a two-point perspective grid

You can change the grid extent to define the extent of the grid on the planes. When you move the pointer over the grid extent widgets, the pointer changes to

Note: Gridlines are set to display onscreen when there is a 1-pixel gap in them. Progressive zooming in brings in view more gridlines that are closer toward Vanishing Point.

Moving the right grid extent away from the right vanishing point in a two-point perspective grid

You can also adjust the grid extent to increase or decrease the vertical grid extent.

Adjusting the grid extent to decrease the vertical grid extent

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To increase or decrease the grid cell size, use the grid cell size widget. When you mouse over the grid cell size widget, the pointer changes to

Note: When you increase the grid cell size, the number of grid cells reduce.

Increasing the grid cell size by dragging the grid cell size widget.

Drawing new objects in perspective

To draw objects in perspective, use the line group tools or rectangle group tools while the grid is visible. While using the rectangle or line group tools, you can switch to the Perspective Selection tool by pressing Cmd (Mac OS) or Ctrl (Windows).

You can also switch the active plane using the keyboard shortcut 1 (left plane), 2 (horizontal plane), and 3 (right plane) with these tools selected.

Note: The Flare tool is not supported with Perspective Grid.

When you draw an object in perspective, use Smart Guides to align the object to other objects. The alignment is based on the perspective geometry of objects. Guides appear as the object approaches the edge or anchor point of other objects.

You can use numerical values for any of the rectangle or line group tools (other than the Flare tool). You can specify height and width values for the object in the same way as you would draw in regular mode, but the object is drawn in perspective in this case. Also, the values represent real world dimensions of the objects.

Note: While drawing in perspective, you can use the regular shortcuts available for drawing objects such as Shift / Alt+drag (Windows) or Option+drag (Mac OS).

While drawing in perspective, objects can be snapped to grid lines of the active plane. An object snaps to the grid lines within 1/4th distance of the cell size.

You can enable or disable the Snap to Grid option from View > Perspective Grid > Snap to Grid.This option is enabled by default.

For a video on drawing artwork in perspective, see www.adobe.com/go/lrvid5211_ai_en.

Attach objects to perspective

If you have already created objects, Illustrator provides the option to attach objects to an active plane on the perspective grid.

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To add an object to the left, right, or horizontal grid:

1 Select the active plane on which you want to place the object. You can select the active plane using 1, 2, or 3

keyboard shortcut command or by clicking on one of the faces of the cube in the Perspective Grid Widget.

2 Click Object > Perspective > Attach to Active Plane.

Note: Using the Attach to Active Plane command does not affect the appearance of the object.

For a video on mapping artwork to perspective, see www.adobe.com/go/lrvid5212_ai_en.

Release objects with perspective

If you want to release an object with a perspective view, click Object > Perspective> Release with Perspective option. The selected object is released from the associated perspective plane and is available as a normal artwork.

Note: Using the Release with Perspective command does not affect the appearance of the object.

Bringing objects in perspective

When you bring an existing object or artwork into perspective, the appearance and scale of the selected object changes. To bring regular objects into perspective, do the following:

1 Select the object using the Perspective Selection tool.

2 Select the active plane on which you want to place the object by using the Plane Switching widget or using the

keyboard shortcut 1 (left plane), 2 (horizontal plane), 3 (right plane).

3 Drag-and-drop the object at the required location.

Selecting objects in perspective

Use the Perspective Selection tool to select objects in perspective. The Perspective Selection tool provides a marquee to select objects using the active plane settings.

You can select between normal marquee and the perspective marquee after starting to drag using the Perspective Selection tool and then switch between different planes of the grid using 1, 2, 3, or 4 keys.

Transforming objects

Moving objects

To move objects in perspective, switch to the Perspective Selection tool (Shift+V) and then either use the arrow keys or the mouse to drag-and-drop objects.

Note: During the drag loop while moving the objects, changing the plane using the respective keyboard shortcut changes the object's plane.

You can also move objects in perpendicular direction to the current object location. This technique is useful when creating parallel objects such as the walls of a room. For this movement:

1 Select the object using the Perspective Selection tool.

2 Keeping the number 5 key pressed, drag the object to the required position. This action moves the object parallel

to its current location. Using Alt (Windows) or Option (Mac OS) along with the number 5 key while moving, duplicates the object at the new location without changing the original object. In Draw Behind mode, this action creates the object behind the original object.

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Moving a rectangle in perpendicular to its initial position

Note: The arrow keys do not work when you move objects in perpendicular.

Use the keyboard shortcut, Alt+drag (Windows) or Option+drag (Mac OS) to copy the object. To constrain the movement in perspective, press Shift+drag. To specify a precise location where you need to move the object during perpendicular movement, see

“Precise perpendicular movement” on page 92.

You can also use the Transform Again command (Object > Transform > Transform Again) or the keyboard shortcut Ctrl+D (Windows) or Cmd+D (Mac OS) to move objects in perspective. This option also works when you move object in perpendicular direction.

Note: The keyboard shortcut 5 for perpendicular movement and the keyboard shortcuts 1,2, and 3 for plane switching while drawing or moving objects, work only from the main keyboard and not from the extended numeric keypad.

Precise perpendicular movement

To move objects in precise perpendicular movement, double-click the required plane widget using the Perspective Selection tool. For example, double-click the right plane widget to set the options in the Right Vanishing Plane dialog box.

Setting options for perpendicular movement of all objects on the selected grid plane

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For precise perpendicular movement, for all objects:

1 In the Location box, specify the location where the objects need to be moved. By default, the current location of

objects is displayed in the dialog box.

2 Select from the following movement options for objects:

Do Not Move If this option is selected, the object does not move when the grid is repositioned.

Move All Objects If you select this option, then all the objects on the plane move with the grid movement.

Copy All Objects If you select this option, then all the objects on the plane are copied on the plane.

To move a selected object in precise perpendicular movement, select the object and then double-click the required plane widget. In this case, the following dialog box is displayed:

Setting options for perpendicular movement of selected objects

Perpendicular movement by dragging grid planes

You can also move objects in perpendicular direction by dragging the grid plane using grid plane controls. When you move an object in perpendicular direction, the object is placed parallel to its existing or current location.

To move an object parallel to its current position:

1 Select the Perspective Selection tool from the Tools panel or by pressing Shift+V.

2 Press Shift and drag the grid plane control depending on the grid plane where the object is placed.

Moving a rectangle in perpendicular by dragging the right grid plane

To create a copy of the object parallel to its current position:

1 Select the Perspective Selection tool from the Tools panel or by pressing Shift+V.

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2 Press Alt and drag (Windows) or Option and drag (Mac OS) the grid plane control depending on the grid plane

where the object is placed.

Automatic plane positioning

The automatic plane positioning feature allows you to create objects by inferring the height or depth of the object. For example, to draw a cube, the height of the top face of the cube must be known. With automatic plane positioning, perspective grid automatically adjusts the horizontal grid plane to match the height of the top face of the cube.

Two faces of a cube

Horizontal grid plane is adjusted to the height of left face of the cube when horizontal grid plane is selected and you place the pointer on the anchor point using Perspective Selection tool and press Shift. The other grid planes are hidden temporarily.

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Macromedia Illustrator - CS5 Instruction Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Legal notices

Contents

Chapter 1: What’s New

Perspective drawing

Beautiful strokes

Variable-width strokes

Dashed line adjustments

Precise arrowheads

Stretch control for brushes

Brushes with corner control

Bristle brush

Crisp graphics for web and mobile devices

Multiple artboards enhancements

Shape Builder tool

Drawing enhancements

Symbol enhancements

Artboard ruler origin and coordinates enhancement

Path join enhancement

Select behind capability

Draw behind and draw inside modes

Roundtrip editing with Adobe Flash Catalyst CS5

Resolution Independent Effects

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

Rearrange, dock, or float document windows

Dock and undock panels

Move panels

Add and remove panels

Manipulate panel groups

Stack floating panels

Resize panels

Collapse and expand panel icons

Use panel menus

Rename or duplicate a workspace

Save and switch workspaces

Save a custom workspace

Display or switch workspaces

Delete a custom workspace

Restore the default workspace

(Photoshop) Restore a saved workspace arrangement

Tools

Tools panel overview

View hidden tools

View tool options

Move the Tools panel

View the Tools panel in double-stack or single-column

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

Reshaping tool gallery

Symbolism tool gallery