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Adobe ILLUSTRATOR 6.0 Online Manual

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Summary of Contents for Adobe ILLUSTRATOR 6.0

Page 1 List of topics Menu commands Toolbar Index How to use this guide...
Page 2: List Of Topics
List of topics Basic concepts Viewing and setting up documents Drawing Moving and aligning objects Modifying shapes and applying special effects Painting Creating custom colors, gradients, and patterns Using layers Using type Using graphs Importing and exporting artwork Printing documents Producing color separations Error messages and troubleshooting What’s new in 6.0...
Page 3: Basic Concepts
Basic Concepts Bitmap images and vector graphics Opening documents Saving documents Setting preferences Using the toolbox and the plug-ins toolbox Using the status bar Using the Shortcuts palette Correcting mistakes Reverting to an earlier version of your document Using plug-in modules...
Page 4 Bitmap images and vector graphics Computer graphics fall into two main categories—bitmap images vector graphics. Understanding the difference between these two types of graphics is useful when you’re creating and editing digital illustrations. (For more informa- tion on using these formats with Illus- trator, see About graphic ﬁle formats.)
Page 5 Bitmap images Bitmap images, such as those created in Adobe Photoshop, consist of a grid, or bitmap, of small squares, known as pixels. For example, a bicycle tire in a bitmap image is made up of a collection of pixels in that location, with each pixel part of a mosaic that together gives the appearance of a tire.
Page 6 Vector graphics Vector graphics, such as those created in Adobe Illustrator, are made up of lines and curves deﬁned by mathematical objects called vectors. For example, a bicycle tire in a vector graphic is made up of a mathematical deﬁnition of a cir- cle ﬁlled with a speciﬁc color and set at...
Page 7 Bitmap vs. Vector graphics Click on artwork to jump to information on that format. 4:1 zoom 16:1 zoom Bitmap 4:1 zoom 16:1 zoom Vector...
Page 8 Opening documents When you start Adobe Illustrator, the program automatically opens a new document. You can also create a new document at any time, once Illustrator is running. In either case, a new document appears with the name Untitled art in its title bar.
Page 9 Saving documents You can save a document under its current name, location, and ﬁle format by using the Save command. If you are saving the document for the ﬁrst time, the Save dialog box appears, enabling you to specify how and where you want to save the document.
Page 10 • From the Format pop-up menu, choose the ﬁle format in which you want to save the document. If you save the document in EPS for- mat, you can add Fetch® information. Fetchis a program that searches for and retrieves ﬁles based on information about the ﬁle.
Page 11 Setting preferences After you have used Illustrator for a while, you may develop preferences for the way in which various commands and tools work in the program. To accommodate different styles of work- ing, Illustrator lets you set and save a wide variety of preferences.
Page 12 • The Hyphenation Options dialog box deﬁnes which language dictionary is used and lets you specify any words you don’t want Illustrator to hyphenate. • The Plug-ins dialog box lets you indicate where the plug-in modules are located.
Page 13 General Preferences dialog box Click on any option for information on that option. return to text...
Page 14 Using the toolbox and the plug-ins toolbox The ﬁrst time you open a document, the toolbox appears on the left side of the screen. The toolbox contains the set of working tools with which you can create, select, and manipulate objects in Illustrator.
Page 15 To move either toolbox: Drag it by the title bar. See also • Selecting tools • Using the tool pointers • Toolbox overview...
Page 16 Using the tool pointers Many of the tools change the mouse pointer to an icon that indicates the function of the selected tool. For exam- ple, choosing the brush tool changes the pointer to a brush. You can also change any painting or editing tool pointer to a cross hair.
Page 17 Selecting tools Select a tool from the default toolbox by clicking the tool. Select a hidden tool by positioning the pointer on the current tool in the toolbox and dragging to highlight the tool. Click on any tool to jump to information on that tool. Direct- Group-selection Selection...
Page 18 Toolbox overview Click on any artwork to jump to information on that tool. The selection tool The direct-selection tool The group-selection tool selects entire objects. selects points or segments selects objects and groups within objects. within groups. The hand tool moves the The zoom tool increases The pen tool draws Illustrator artboard within...
Page 19 Toolbox overview, continued Click on any artwork to jump to information on that tool. The scissors tool splits The add-anchor-point The delete-anchor-point paths. tool adds anchor points tool deletes anchor points to paths. from paths. The convert-anchor-point The brush tool draws The freehand tool tool changes smooth freehand lines of...
Page 20 Toolbox overview, continued Click on any artwork to jump to information on that tool. The autotrace tool The oval tool draws The rectangle tool traces the outline of circles and ovals. draws squares and objects in a template. rectangles. eeboppers bellow the blues in assoon, B-ﬂat on the aritone...
Page 21 Toolbox overview, continued Click on any artwork to jump to information on that tool. The area-type tool creates The path-type tool changes The rotate tool rotates individual type and type paths to type paths, and objects around a fixed containers and lets you lets you enter and edit type point.
Page 22 Toolbox overview, continued Click on any artwork to jump to information on that tool. The eyedropper tool The paint-bucket tool fills The gradient tool adjusts samples paint attributes objects with the current the beginning and ending from objects. paint attributes. points of gradients within ojbects nstrument...
Page 23 Using the status bar A status line is displayed at the bottom left edge of the Illustrator document window. The status line can display information about any of four different topics: • The current tool in use • The time and date •...
Page 24 To specify the type of information you want to display in the status line: Position the cursor over the status line bar and hold down the mouse button. Drag to choose the type of informa- tion you want from the pop-up menu.
Page 25 Using the Shortcuts palette The Shortcuts palette displays a brief description of the function of all tools and keyboard shortcuts available in Illustrator. To use the Shortcuts palette: Choose Show Shortcuts from the Help menu, located at the top right of the menu bar.
Page 26 Correcting mistakes You can use the Undo command to correct mistakes you make while using the Adobe Illustrator program. You can even undo an operation after you have chosen the Save command (but not if you have closed and then reopened the ﬁle).
Page 27 To undo or redo an operation: Choose Edit Undo or Edit Redo. To change the maximum number of undo levels: Choose File Preferences General, enter a value in the Undo Levels text box, and click OK.
Page 28 Reverting to an earlier version of your document The Revert to Saved command restores your document to the version that was last saved. You cannot undo this action. To revert your document to the saved version: Choose File Revert to Saved.
Page 29 When you install Adobe Illustrator and include plug-ins as part of the installa- tion, these ﬁles are placed in the Plug- ins folder in the Adobe Illustrator folder. If you change the location of these ﬁles or of the Plug-ins folder, you must use...
Page 30 You can also use plug-ins from version 3.0.4 or later of Adobe Photoshop, and from Adobe Gallery Effects (included in the Adobe Illustrator Deluxe CD-ROM disc). In addition, you can use third- party plug-ins designed for Photoshop or Illustrator. (Plug-ins designed for Photoshop display a Photoshop icon in the Illustrator menu.)
Page 31 Adobe Illustra- tor, see the Adobe Systems Incorporated Home Page at http://www.adobe.com. You can also contact the Adobe Develop- ers Association (ADA) by telephone. In the United States, call (415) 961-4111; in Europe, call +31-20-6511 275. In addi- tion, you can reach the ADA by e-mail at devsup-person@mv.us.adobe.com.
Page 32 Viewing and Setting Up Documents Viewing modes Previewing and printing patterns and placed EPS images Moving the view of a document Magnifying and reducing the view Creating custom views Displaying multiple views of a document Using rulers About the work area Changing the artboard size Aligning the artboard with the printed page...
Page 33 Viewing modes You have three views in which to display your artwork on-screen: Preview view (the default), Artwork view, and Preview Selection view. Preview view Preview Selection view Artwork view...
Page 34 To change the view: Choose one of the following options: • Choose View Preview to view the artwork as it will be printed, ﬁlled with as many colors and as much shading and detail as your monitor is capable of displaying.
Page 35 Note: You can use the Artwork View Speedup ﬁlter to speed up redrawing and editing in Artwork view. All artwork handles are displayed in black while editing in Artwork View with the Artwork View Speedup ﬁlter in effect. To use the Artwork View Speedup ﬁlter, place it into Illustrator’s Plug-ins folder and restart Illustrator.
Page 36 Previewing and printing patterns and placed EPS images Placed EPS images from other applica- tions and objects that are ﬁlled with patterns can slow performance when previewing and printing artwork. The Show Placed Images option in the Document Setup dialog box lets you choose whether placed EPS images display a 1-bit preview when seen in Artwork view.
Page 37 To determine how placed EPS images and patterns appear: Choose File Document Setup. Choose any of the following options: • Select or deselect the Show Placed Images option. • Select or deselect the Preview and Print Patterns option. Click OK.
Page 38 Moving the view of a document You can view different areas of a docu- ment using the scroll bars or the hand tool. Moving the hand tool around on an Illus- trator document is analogous to moving a piece of paper on a desk with your hand.
Page 39 Magnifying and reducing the view The zoom-in and zoom-out tools and commands magnify or reduce the dis- play of any area in the document up to 16 times. Zooming in and out changes only the magniﬁcation at which you see the document, not its actual size.
Page 40 Continue clicking until the document is magniﬁed as desired. When the docu- ment has reached its maximum magniﬁ- cation level of 1600%, the magnifying glass appears blank. • Choose View Zoom In. Continue choosing this option until the document is magniﬁed as desired. When the docu- ment has reached its maximum magniﬁ- cation level of 1600%, the command is dimmed.
Page 41 • Choose View Zoom Out. Continue choosing this option until the document is magniﬁed as desired. When the docu- ment reaches its maximum reduction level of 6.25%, the command is dimmed. To magnify by dragging: Select the zoom-in tool. Drag to draw a dotted rectangle, called a marquee, around the area you want to magnify.
Page 42 Creating custom views You may want to switch between sev- eral views while working on an Illustra- tor document. For example, you may want to set one view highly magniﬁed for doing close-up work on some objects and create another view not as magniﬁed for laying out those objects on the page.
Page 43 To create a new view: Set up the view that you want. Choose View New View. Enter a name for the new view, and click OK. The view names, along with keyboard shortcuts for accessing them, appear at the bottom of the View menu. To retrieve a view, select the name of the view you want to use.
Page 44 Displaying multiple views of a document You can display several views of the same document in separate windows. For example, you can simultaneously view several magniﬁcation levels of one drawing. Because the windows are sim- ply different views of the same docu- ment, editing artwork in any of the win- dows affects the artwork in all windows at the same time.
Page 45 Using rulers Illustrator can display rulers, one along the bottom and one along the right side of the document window. When you open a new document, the rulers are not visible, but you can dis- play them at any time. These rulers are a tool for placing and measuring objects in artwork accurately.
Page 46 Defining ruler units The large tick marks on the rulers indi- cate the unit of measure (such as inches), and the small tick marks indi- cate increments of the unit of measure (such as 1/8 inch). When you magnify or reduce the document view, the incre- ments of the unit of measure reﬂect the change in magniﬁcation.
Page 47 To set the unit of measure: Choose one of two options: • To change the unit of measure for all documents, choose File General Preferences. • To change the unit of measure for the active document only, choose File Document Setup. From the Ruler Units pop-up menu, drag to specify the unit of measure you want to use.
Page 48 Automatically converting unit values in text boxes If you use other than the preset unit to enter values, Illustrator converts it to the set unit. For example, entering “3 cm” in a text box set to inches converts the value to 1.181 inches. You can also add, subtract, multiply, divide, and perform other mathematical operations in any Illustrator text box...
Page 49 Changing the ruler origin The point where 0 appears on each ruler is called the ruler origin. When you open a document, the position of the ruler ori- gin depends on the View option selected in the Document Setup dialog box.
Page 50 To change the ruler origin: Move the pointer to the lower right corner of the rulers where the rulers intersect. Drag the pointer to where you want the new ruler origin. As you drag, a cross hair in the window and in the rul- ers indicates the changing ruler origin.
Page 51 About the work area In Adobe Illustrator, the work area occupies the entire space within the Illustrator document window, and includes more than just the printable page containing your artwork. The work area is made up of four sections: • Imageable area •...
Page 52 Imageable area The imageable area is the area within the dotted lines representing the portion of the page on which the selected printer can print an image. Many printers cannot print to the edge of the paper. jump to art...
Page 53 Nonimageable area The nonimageable area is the area between the dotted and solid lines representing any nonprintable margin of the page. This example shows the nonimageable area of an 8.5" x 11" page for a standard laser printer. jump to art...
Page 54 Artboard The artboard is the area within the solid lines representing the region that can contain printable artwork. The artboard equals the imageable area plus any non- imageable area. By default, the artboard is the same size as the page, but it can be enlarged, as in the example shown.
Page 55 Scratch area The scratch area is the area between the solid lines, and the border of the document window represents a space on which you can create, edit, and store elements of artwork before moving them onto the artboard. Objects placed on the scratch area are visible on-screen, but they do not print.
Page 56 The work area Click on any option for information on that option. Imageable area Nonimageable area Artboard Scratch area return to text...
Page 57 Changing the artboard size The boundaries of the artboard deﬁne the maximum printable area of your document. By default, the artboard is U.S. letter size (8.5 inches by 11 inches). You can change the artboard’s dimen- sions using the Document Setup dialog box.
Page 58 • Select the Use Page Setup option to set the size of the artboard to match the page size set in the Page Setup dialog box. The size of the artboard then changes any time you choose a new page size in the Page Setup dialog box. Click OK.
Page 59 Aligning the artboard with the printed page The artboard’s dimensions do not neces- sarily match the paper sizes used by printers. As a result, when you print a document, the program divides the art- board into one or more rectangles that correspond to the page size available on your printer.
Page 60 the page size speciﬁed in Illustrator, enabling you to print bleeds, for example, that run past the edge of the page. As you work with tiled artwork, be sure to consider how the artwork relates to the boundaries of the page grid and to the total dimensions of the artboard.
Page 61 Choosing tiling options You set how pages tile using the options in the Document Setup dialog box— Single Full Page, Tile Full Pages, and Tile Imageable Areas. These options let you print the artwork on one or more pages, printing each page according to the page size deﬁned in the Page Setup dialog box.
Page 62 • Select the Tile Full Pages option to view and print multiple pages containing separate pieces of artwork. For example, you can use this option to print a two- page brochure. To view and print multiple pages, the artboard size set in the must be large enough to ﬁt more than one full page at a time.
Page 63 If you have set up the document to view and print multiple pages, the document is tiled onto pages numbered from left to right and from top to bottom, starting with page 1. These page numbers appear on-screen for your reference only;...
Page 64 Tiling options Single Page option: Letter size page 11” x 14” artboard Tile Full Pages option: Letter size page 20”x 14” artboard...
Page 65 Tile Imageable Areas option: Letter size page 40”x 60” artboard...
Page 66 Moving the page boundaries You can adjust the placement of a page on the artboard to control how artwork is printed on the page. This is a good way to avoid having the artwork extend past the boundaries of the current page. You can adjust the page on any of the three View displays.
Page 67 See also About the work area To adjust a page using the page tool: Select the page tool. The pointer is a dotted cross in the active window. Drag the page to the new location. As you drag, two gray rectangles appear: the outer rectangle indicates the page size, and the inner rectangle indicates the page’s printable area.
Page 68 Setting up standard and custom pages Using the Document Setup dialog box (to set the artboard size and page tiling) with the Page Setup dialog box (to set different page sizes and orientations) lets you create standard- and custom-size pages. Select the Use Page Setup option in the Document Setup dialog box override the dimensions set in the Document Setup dialog box.
Page 69 Setting up standard and custom pages Horizontal letter page Document Setup: • Use Page Setup Page Setup: • US letter paper • Landscape orientation return to text...
Page 70 Setting up standard and custom pages, continued Vertical tabloid page Document Setup: • Use Page Setup Page Setup: • Tabloid paper • Portrait orientation return to text...
Page 71 Setting up standard and custom pages, continued Horizontal tabloid page Document Setup: • Use Page Setup Page Setup: • Tabloid paper • Landscape orientation return to text...
Page 72 Setting up standard and custom pages, continued Two-page spread Document Setup: • Custom artboard (19.5" by 13.5") • Landscape orientation • Tile Full Pages view Page Setup: • US letter paper • Portrait orientation return to text...
Page 73 Setting up standard and custom pages, continued Standard envelope – center fed Document Setup: • Use Page Setup Page Setup: • Envelope paper • Landscape orientation return to text...
Page 74 Setting up standard and custom pages, continued US letter page with bleed Document Setup: • Tabloid paper • Portrait orientation • Single Full Page view Page Setup: • US letter paper • Portrait orientation return to text...
Page 75 Setting up standard and custom pages, continued Custom page Document setup: • Custom artboard (22.75" by 25.3375") • Portrait orientation • Tile Imageable Areas Page Setup: • US letter paper • Landscape orientation return to text...
Page 76 Document Setup dialog box Click on any option for information on that option. return to text...
Page 77 Drawing About paths and anchor points Drawing with the freehand tool Drawing with the pen tool Selecting objects Adjusting path segments Hiding the anchor points and edges of a selected object Adding and deleting anchor points Selecting stray points Splitting paths with the scissors tool Averaging anchor points Joining endpoints Drawing with the brush tool...
Page 78 Drawing, continued Drawing polygons Drawing spirals Drawing stars Tracing artwork...
Page 79 About paths and anchor points A path is any line or shape that you cre- ate using the Adobe Illustrator drawing tools, and represents the outline of a graphic object. A single straight line, a rectangle, and the outline of a map are all typical examples of paths.
Page 80 The ﬁrst and last anchor points on an open path are called the endpoints. If you ﬁll an open path, the program draws an imaginary line between the two endpoints and ﬁlls the path. Selected line segment Unselected anchor point Closed paths Selected endpoint...
Page 81 Drawing with the freehand tool The freehand tool lets you draw paths as if you were using a pencil. You can use it for fast sketching or creating a more handdrawn look than you could with the pen tool. The freehand tool sets anchor points as you draw, according to the path length and complexity, and the Freehand Toler- ance value (2 pixels, by default) set in...
Page 82 To draw a freehand path: Select the freehand tool. Position the pointer where you want the path to begin, and drag. (If the Use Precise Cursors option is select in the General Preferences dialog box, the pointer appears as a cross hair.) As you drag, a dotted line trails the pointer.
Page 83 To erase part of the path as you draw: Hold down the Command key and drag back over the path. As you drag, the pointer changes to an eraser. To set the freehand tolerance: Choose File Preferences General. Enter a value between 0 and 10 in the Freehand Tolerance text box.
Page 84 Drawing with the pen tool The pen tool lets you create straight lines and smooth, ﬂowing curves with greater precision than with the freehand tool. For most users, it is the most important and powerful drawing tool in Illustrator, as it provides the best control and greatest accuracy for drawing.
Page 85 Drawing straight lines The simplest line you can draw with the pen tool is a straight line, by clicking the pen tool to create anchor points. To draw straight lines with the pen tool: Select the tool. Move the tip of the pen to the straight line’s starting point, and click.
Page 86 The last anchor point added is a solid square, showing it is selected. The other anchor points become hollow squares. To end an open path: Choose one of the following options: • Click the pen tool in the toolbox. • Hold down the Command key to change to the selection tool, and then...
Page 87 About direction lines and direction points On curved segments, each selected anchor point displays one or two direction lines, ending in direction points. The position of each direction line and point determine the size and shape of a curved segment. Moving these elements reshapes the curves in a path.
Page 88 determines the slope of the curve, while the length of each direction line deter- mines the height, or depth, of the curve. Moving direction lines changes the slope of the curve. Continuous curved paths—paths along a continuous wave shape—are con- nected by anchor points called smooth points.
Page 89 When you move a direction line on a smooth point, the curves on both sides of the point adjust simultaneously. In comparison, when you move a direction line on a corner point, only the curve on the same side of the point as the direc- tion line is adjusted.
Page 90 Drawing curves You create curves by dragging the pen tool in the direction you want the curve to go. The following instructions explain how to draw curves. See also About direction lines and direction points. To draw a curved path: Select the tool.
Page 91 Position the pointer where you want the curve segment to end, press the mouse button, and drag in the opposite direction to complete the segment. Hold down the Shift key to constrain the tool to multiples of 45 degrees. Drag in direction and then drag in of curve to set opposite direction...
Page 92 Choose one of the following options: • To draw the next segment of a contin- uous curve, position the pointer where you want the next segment to end, and drag away from the curve. Drag away from curve to create next segment.
Page 93 and mouse button, reposition the pointer, and drag in the opposite direction to end the curve segment. Press Option key and drag in direction of curve . . . and then release Option key and drag in opposite direction.
Page 94 Keep the following guidelines in mind to help you draw any kind of curve quickly and easily: • Always drag the ﬁrst direction point in the direction of the bump of the curve, and drag the second direction point in the opposite direction to create a single curve.
Page 95 Use as few anchor points as possible, placing them as far apart as possible. Less to more efﬁcient curves See the Adobe Illustrator Tutorial and Beyond the Basics for step-by-step procedures on drawing curves with the pen tool.
Page 96 Selecting objects Before you can modify an object, you need to distinguish it from the objects around it. You do that by selecting the object with one of the selection tools. Once you’ve selected an object, or a part of an object, you can edit it by moving or copying, deleting, or adjusting paths.
Page 97 Tip: To use the last selection tool used while using any other tool, hold down the Command key. To select an entire object or line: Choose the selection tool or the group-selection tool. Choose one of the following options: • If the object is ﬁlled, and you are in Preview view, click within the object.
Page 98 To select a segment: Choose the direct-selection tool, and then choose one of the following options: • Click within 2 pixels of the segment. • Hold down the mouse button, and drag a selection marquee over part of the segment. Drag direct-selection to select segment and marquee .
Page 99 To add or remove selections: Hold down the Shift key while selecting additional objects or segments. See also • Selecting ﬁlled objects • Selecting multiple objects • Deselecting objects...
Page 100 Selecting filled objects The Area Select option in the General Preferences dialog box controls whether you can select a ﬁlled object in Preview view by clicking anywhere within its area or whether you must click a path or anchor point. The Area Select option is on by default.
Page 101 You can turn off the Area Select option, such as if you’re working with overlap- ping ﬁlled objects. Area Select option off: Dragging selects points and segments within marquee. Area Select option on: Dragging selects object. To turn the Area Select option on or off: Choose File Preferences General.
Page 102 Selecting multiple objects You can select several objects at a time, and then move, paint, group, transform, or edit them using any editing tool. To select or deselect multiple objects: Choose one of the following options: • Drag the marquee over all of the objects.
Page 103 To select all objects in a document: Choose Edit Select All. This command selects all objects in a document except objects that have been locked or hid- den. See Locking and hiding objects for more information on these types of objects. To select all unselected objects, and deselect all selected objects: Choose Filter...
Page 104 Deselecting objects You deselect objects when you no longer want to edit them. You can deselect one object, several objects, or all objects in your artwork. To deselect objects when you are using a selection tool: Choose one of the following options: •...
Page 105 Adjusting path segments You can modify the shape of a path by moving one or more of its segments, or by moving its anchor points. To adjust a curved segment, you move the segment between the points anchoring it, or you move one or more of its anchor or direc- tion points.
Page 106 Drag the selected anchor points or segments to a new position. Hold down the Shift key to constrain the tool to multiples of 45 degrees. Select points Drag to move curve. anchoring curve. To adjust a straight segment: Select the direct-selection tool, and click anywhere along the segment you...
Page 107 Drag the selected segment to its new position. Click to select Drag to adjust. straight segment. To adjust a curve: Select the direct-selection tool. Select the curve you want to adjust. Direction lines appear for that curve. Choose one of the following options: •...
Page 108 • To adjust the shape of the curve on either side of the anchor point, drag the direction point. Click to select the and drag the segment; curve . . . drag the direction or drag the anchor point. point; Note: Hold down the Shift key to constrain the tool to multiples of 45 degrees.
Page 109 To convert a smooth point to a corner point, and vice versa: Select the direct-selection tool. Select the object and the anchor point you want to convert. Hold down the Control key while any selection tool is selected, or select the convert-direction-point tool.
Page 110 • Select a corner point, and drag to create direction lines, converting it to a smooth point. Click smooth point Drag corner point for corner point. for smooth point. • Select a smooth point to display direc- tion lines. Then drag a direction line, converting the segment into a corner point with direction lines.
Page 111 Hiding the anchor points and edges of a selected object Illustrator displays the anchor points of selected objects and, in Preview view, an outline of the selection edge. When you are working with complex paths or moving selected objects, you can hide all anchor points and selection edges if they obstruct your view using the Hide Edges command.
Page 112 Adding and deleting anchor points You can add and delete anchor points on any path. Added anchor points can give you more control over the path shape. Similarly, you can delete anchor points to change the shape of a path or to sim- plify the path.
Page 113 To add and delete individual anchor points at speciﬁc locations on a path segment, use the add-anchor-point tool and the delete-anchor-point tool. Adding anchor point Result Deleting anchor point Result To add anchor points midway between pairs of anchor points in a path, use the Add Anchor Points ﬁlter.
Page 114 To add an anchor point: Select the add-anchor-point tool. Position the pointer on a path seg- ment, and click the mouse button. To delete an anchor point: Select the delete-anchor-point tool. Position the pointer over an anchor point, and click the mouse button. To add anchor points using the Add Anchor Points filter: Select the object, and choose...
Page 115 Selecting stray points Single, isolated anchor points make art- work unnecessarily complex and can even slow printing. Stray points can be created, for example, if you inadvert- ently click the pen tool in the artwork area, and then choose another tool. The Delete Stray Points option in the Cleanup Artwork dialog box ﬁnds and deletes all isolated single points...
Page 116 Splitting paths with the scissors tool You may want to split paths that you have already created or that were cre- ated using the autotrace tool. Using the scissors tool, you can split an open path into two paths and split a closed path so that it becomes one or more open paths.
Page 117 Click the path where you want to split it. If you split the path in the middle of a segment, two new endpoints are created, one on top of the other. Both endpoints are selected. If you split the path at an anchor point, a new anchor point is created on top of the original anchor point.
Page 118 Averaging anchor points The Average command lets you move two or more anchor points to a position that is the average of their current locations. Vertical Horizontal Both Average command To average anchor points: Use the direct-selection tool to select two or more anchor points.
Page 119 Joining endpoints The Join command connects the end- points of open paths, closing them. Join- ing two coincident (overlapping) end- points replaces them with one anchor point. Joining two noncoincident end- points draws a path between them. Tip: To average and join two paths at once, select the two points to join, and press Command+ Option+J to join the paths at their midpoint.
Page 120 To join two coincident endpoints: Using the direct-selection tool, drag to select the endpoints. Choose Object Join. Select the Corner or Smooth option; About direction lines and direction points for more information. Click OK. Drag to select coin– Join command cident endpoints.
Page 121 Drawing with the brush tool The brush tool draws closed paths that vary in width, simulating a brush stroke. To draw with the brush tool: Select the brush tool. The pointer changes to a brush when you move it to the active window. Position the tip of the brush where you want the path to begin.
Page 122 Specifying brush widths and styles The Brush Preferences dialog box lets you change the brush stroke width, style (such as variable-width lines or cal- ligraphic lines), and brush stroke ending (round or ﬂat). To specify the brush width and style: Double-click the brush tool Choose from the following options:...
Page 123 • Select a Cap style and Join style for the stroke end, round or ﬂat. Round cap and join Flat cap and join • Select the Calligraphic option for script letters and lines to simulate drawing with an angled calligraphic pen tip. The line width varies on the up- and down- stroke.
Page 124 Adding calligraphic strokes to objects The Calligraphy ﬁlter applies a calli- graphic stroke to an existing curved path. (For calligraphic brush strokes, use the Calligraphic option; see Specify- ing brush widths and styles.) The Callig- raphy ﬁlter does not work with type. To apply a calligraphic stroke: Select a curved path.
Page 125 Drawing rectangles and ovals Adobe Illustrator includes four rectangle tools and two oval tools: • The rectangle and oval tools let you draw rectangles and ovals by dragging from a corner of the rectangle or an edge of the oval to its opposite corner or edge.
Page 126 When you create an object with the rectangle or oval tools, a center point appears in the object’s center. You can use this point to drag the object or to align it with other elements in your art- work. You can show or hide the center point, but you cannot delete it.
Page 127 constrain the tool to multiples of 45 degrees, and create squares with the rectangle tool and circles with the oval tool. Drawing from corner and center To create a rectangle or oval by dragging from the center: Select one of the centered-rectangle tools or the...
Page 128 To draw a rectangle or oval by specifying dimensions: Select any rectangle or oval tool. Click where you want to begin creat- ing the shape. The beginning point is the center for a centered object, or a corner of a rectangle or side of an oval. The Rectangle dialog box displays the dimensions of the last drawn rectangle or oval.
Page 129 rectangle or square. The default corner radius is 12 points. A corner radius of zero creates square corners. Note: The corner style of the rectangle or square you draw is determined by the corner radius value you specify in either the Rectangle or General Preferences dialog box.
Page 130 Drawing polygons The polygon plug-in tool draws an object with a speciﬁed number of sides of equal length, with each side the same distance from the center of the object. Polygons To draw a polygon by dragging: Select the polygon tool in the plug-ins toolbox.
Page 131 Choose any of the following options: • Drag the pointer in an arc to rotate the polygon. • Hold down the Shift key to constrain the tool to multiples of 45 degrees. • Hold down the spacebar to move the polygon as you drag.
Page 132 Drawing spirals The spiral plug-in tool creates a spiral- shaped object of a given radius and number of winds; that is, the number of complete turns that the spiral will complete from start to ﬁnish. Spirals To draw a spiral by dragging: Select the spiral tool from the plug-ins toolbox.
Page 133 Choose any of the following options: • Drag the pointer in an arc to rotate the spiral. • Hold down the Shift key to constrain the tool to multiples of 45 degrees. • Hold down the Control key to increase or decrease the amount by which each wind of the spiral decreases relative to the previous wind.
Page 134 By default, the Spiral dialog box dis- plays the dimensions of the last spiral you drew. The units of measure are determined by deﬁning ruler units in the Document Setup or General Preferences dialog box. Enter the distance from the center to the outermost point in the spiral in the Radius text box.
Page 135 Drawing stars The star plug-in tool creates a star- shaped object with a given number of points and size. Stars To draw a star by dragging: Select the star tool from the plug-ins toolbox. (Choose Window > Show Plug-in Tools to display the plug-ins tool box.) Position the pointer at the center of the star you will create;...
Page 136 • Hold down the Option key to make the slopes on every other side run parallel to each other. • Hold down the Control key to hold the inner radius constant. • Hold down the spacebar to move the star as you drag. •...
Page 137 In the Radius 2 text box, enter the distance from the star’s center to its outermost points. Click the arrows or enter the number of sides to the star in the Points text box. Click OK.
Page 138 Tracing artwork In some cases, you may want to base a new drawing on an existing piece of artwork. For example, you may want to create a graphic based on a pencil sketch drawn on paper, or an image saved in another graphics program. In either case, you can bring the image into Illustrator and trace over it.
Page 139 Using templates A template is a dimmed 1-bit PICT or MacPaint image that can be displayed in a document’s background for tracing over. You can open an existing or new document with a template, and change templates. You can display or hide a template, but you cannot change or move it once it is in a document.
Page 140 To open an existing document and template: Choose File Open, select the name of the document to open; click Open. When you open an existing document, the cor- responding template document appears. To change the template associated with an existing document: Close the document if it is open.
Page 141 You can also use a dedicated tracing program such as Adobe Streamline™. To trace a template shape: Open a document with a template. Select the autotrace tool.
Page 142 Click to trace the path. Click object . . . to autotrace entire object. Illustrator draws the path from where you clicked, keeping the shape on its right. The path may be drawn clockwise or counterclockwise, depending on where you click and on the path’s shape. Click object .
Page 143 To trace part of a template shape: Open a document with a template. Select the autotrace tool. Drag the pointer from the point on the bitmap shape where the path will start to its end. Drag autotrace to autotrace part tool .
Page 144 Setting the autotrace gap distance The lines and shapes in bitmap template images often contain gaps that become visible when you enlarge your view of the document. You can control the accu- racy with which the autotrace tool traces these gaps using the Auto Trace Gap option in the General Preferences dialog box.
Page 145 Tracing over an EPS or TIFF image On occasion, you may want to trace over an EPS or TIFF image. You can trace over such an image by using layers— putting the artwork onto a layer in an Illustrator document and then, option- ally, dimming the layer.
Page 146 Choose any of the following options: • Choose File Place to place the EPS or TIFF image on the layer. See Placing EPS ﬁles for more information. • Copy the EPS image and paste it onto the layer. (For information on placing images, see Opening and placing artwork.)
Page 147 Tracing PICT, MacPaint, and EPS images PICT and MacPaint images con- taining simple ﬁlled shapes can be opened as a template and quickly traced over with the autotrace tool. PICT and MacPaint images con- taining line art can be opened as a template and traced over with the drawing tools.
Page 148 Tracing PICT, MacPaint, and EPS images EPS images containing complex, detailed, or multi-color artwork can be placed on a layer, transformed, and dimmed; they can then be traced over with the drawing tools. EPS images containing artwork El árbol del verano intenso, invulnerable, es todo cielo azul,...
Page 149 Moving and Aligning Objects Moving and copying objects Cutting and pasting Deleting objects Rotating the x and y axes Stacking objects Moving objects to the front and back of the artwork Pasting objects in front of and in back of other objects Pasting objects in their current layer Using the Control palette Using the measure tool...
Page 150 Moving and copying objects You can move or copy objects in your artwork by • Cutting and pasting • Dragging to move or copy • Dragging between applications including open Illustrator and Photo- shop documents • Using the arrow keys •...
Page 151 If the copy is made when you are mov- ing groups of objects or objects on a number of layers, the copied objects are all included in the topmost group or layer. To make a copy outside of the object’s group, use the Copy and Paste commands in the Edit menu.
Page 152 Choosing preferences that affect how objects move The General Preferences dialog box lets you specify how an object is moved. To set preferences that affect how objects move: Choose File Preferences General. Choose one or more of the following options: •...
Page 153 • In the Cursor Key text box, enter the distance you want each press of an arrow key to move a selection. • Select the Transform Pattern Tiles option to transform a pattern when you move or transform an object painted with a pattern.
Page 154 Cutting and pasting Cutting and pasting lets you move or copy objects in your artwork. To move or copy an object by pasting: Select the object you want to cut. Choose Edit Cut or Edit Copy. If you want to paste into another document, open the document.
Page 155 • Choose Edit Paste in Back to paste the object directly in back of the selected object. See also Pasting objects in front of and in back of other objects.
Page 156 Dragging to move or copy Dragging lets you move or copy objects in your artwork. To move an object or a copy of an object by dragging: Select the object. Then position the pointer on an anchor point or path segment of the selected object.
Page 157 Dragging between applications You can use the drag and drop capability to move or copy objects between applications. To move a copy of an object between Illustrator documents or between Illustrator and Photoshop documents by dragging: Open the document to which you want to drag the object.
Page 158 Using the arrow keys You can precisely move or copy objects in your artwork using the arrow keys. To move an object using the arrow keys: Select the object. Press the arrow key that indicates the direction in which you want the object to move.
Page 159 Using the Move command You can move or copy objects a speci- ﬁed amount using the Move command. To move or copy an object a specific distance and direction: Select the object. Choose Arrange Move, or hold down the Option key and click the selection tool.
Page 160 • Enter the distance and angle for the move. The angle you enter is calculated in degrees from the x axis. Positive angles specify a counterclockwise move; negative angles specify a clock- wise move. You can also enter values between 180 and 360 degrees; these values are converted to their corre- sponding negative values (for example, a value of 270 degrees is converted to...
Page 161 Aligning and distributing objects vertically and horizontally The Align palette enables you to align selected objects along the axis you specify. You can align objects along the vertical axis, using the rightmost, cen- ter, or leftmost anchor point of the selected objects.
Page 162 In addition, you can distribute objects evenly along the horizontal axis or vertical axis. Alignment option: Alignment option: Horizontal center Vertical center To align or distribute objects: Select the objects you want to align or distribute. Choose Window > Show Align. Click the icon representing the type of alignment or distribution you want.
Page 163 Moving groups of objects The Move option in the Transform Each dialog box moves objects in a selection in a speciﬁed or random direction. You can use the Random option to give a slightly less rigid, more natural look to a group of items.
Page 164 Choose one of two options: • To move the objects by the speciﬁed amounts, click OK. • To move the objects randomly, but no more than the speciﬁed amounts, select the Random option. Then click OK.
Page 165 Offsetting objects You can create a replica of a path, set off from the selected path by a speciﬁed distance, using the Offset Path ﬁlter. This is useful when you want to create concentric shapes or make many repli- cations of a path at a regular distance from the original path.
Page 166 To create an offset path: Select the paths you want to offset. Select Filter Objects Offset Path. Specify the Offset distance, Line join type, and Miter limit. For more information about these options, Setting stroke attributes with the Paint Style palette.
Page 167 Deleting objects Deleting an object removes it permanently. To delete an object: Select the object. Press the Delete key or choose Edit > Clear.
Page 168 Rotating the x and y axes When you open a new document, the x and y axes are parallel to the horizontal and vertical sides of the window. You can rotate the axes by specifying an angle of constraint in the General Prefer- ences dialog box.
Page 169 Constrain angle: 20 Constrain angle: 20 ; object rotated 20 You can then use the Shift key to con- strain the movement of one or more objects so that they move in a precise horizontal, vertical, or diagonal direction (in 45-degree increments) relative to the current orientation of the x and y axes.
Page 170 The following objects and actions are aligned along the new axes: • Text objects, gradient angles you draw with the gradient tool, and objects you draw with the rectangle, oval, or graph tool • Scaling, reﬂecting, and shearing • Moving objects with the arrow keys •...
Page 171 If you enter a negative number, the axes are rotated clockwise. Click OK. The rotation of the axes is saved in Adobe Illustrator’s Preferences ﬁle; it therefore affects new artwork in all documents until you change its value.
Page 172 Stacking objects The Adobe Illustrator program stacks successively drawn objects, beginning with the ﬁrst object drawn. How objects are stacked determines how they are displayed when they overlap. In addi- tion, stacking is important when work- ing with masks. You can change the stacking order, also called the painting order, of objects in your artwork at any time.
Page 173 Moving objects to the front and back of the artwork The Bring to Front and Send to Back commands let you move an object to the front or back of the stack of objects on its layer. (For more information, see about layers.) If the object is part of any type of...
Page 174 Object brought Object repositioned to front in stack To make an object the frontmost or backmost object on its group or layer: Select the object you want to move. Choose Arrange Bring to Front or Arrange Send to Back.
Page 175 Pasting objects in front of and in back of other objects The Paste in Front and Paste in Back commands let you paste copies of objects directly on top of and behind the objects you select. This is useful if you want to then move the copy a speciﬁed distance from the original’s location.
Page 176 The cut object is pasted into position. If no object was selected in step 3, the object is pasted on top of or in back of the stack. Red object selected Red object cut Yellow object Red object pasted selected in back...
Page 177 If you paste more than one object, all pasted objects appear in front of or in back of the selected artwork. However, the relative painting order among the individual pasted objects remains the same. If you are working with multiple layers in your document that you have deﬁned with the Layers palette, the lay- ers may affect how objects are pasted.
Page 178 Pasting objects in their current layer Pasted objects (even if copied from dif- ferent layers) are placed directly in front of or in back of all selected objects on the current layer if the Paste Remembers Layers option is turned off in the Gen- eral Preferences dialog box.
Page 179 Using the Control palette The Control palette displays informa- tion about selected objects. In addition, you can use the palette to move, scale, rotate, and resize objects. To use the Control palette: Choose Window Show Control Palette. Select the object. Choose any of the following options: •...
Page 180 • To rotate an object, enter a new angle between 0 and 360 degrees in the Angle text box. • To scale an object, enter a value in the Scale text box. Press the Tab key or Return key to apply the change.
Page 181 The Control palette Click on any option for information on that option. Point of origin for transformation Horizontal Width Scale position Vertical position Height Angle return to text...
Page 182 Using the measure tool The measure tool calculates the dis- tance between any two points in the work area. When you measure from one point to another, the distance measured is displayed in the Info palette. The Info palette shows the horizontal and verti- cal distance traveled from the x and y axes, the absolute horizontal and verti- cal distance, the total distance, and the...
Page 183 To measure the distance between two points: Select the measure tool. Choose one of two options: • Click the two points between which you want to measure. • Click the ﬁrst point and drag to the second point. Hold down the Shift key to constrain the tool to multiples of 45 degrees.
Page 184 The Info palette Absolute horizontal distance Horizontal Angle measured position measured Vertical Absolute Angle diagonal distance vertical distance measured from y axis distance measured return to text...
Page 185 Using guides To help align text and graphic objects on the page, you can create and display dotted outlines, called guides, in the background of the work area. You can create two kinds of guides: • Ruler guides are straight horizontal or vertical lines created with the ruler.
Page 186 By default, objects are aligned with guides whenever they are dragged within 2 pixels of the guide. For infor- mation on how to turn this feature on and off, see Choosing preferences that affect how objects move. Tip: To make working with multiple guides easier, place all guides on a single layer.
Page 187 Hold down the mouse button and drag the dotted ruler guide into position. To convert an object into a guide object: Select an object, a group of objects, or any combination of objects and groups.
Page 188 Choose Object Guides Make. Objects selected and converted to guides with aligned artwork. To move, delete, or release a guide: Choose Object Guides Lock to unlock the guide. When a guide is locked, a check mark appears in front of the Lock Guide command. Select the guide you want to move, delete, or release, and choose one of three options:...
Page 189 • Release the guide object, turning it back into a regular graphic object, by choosing Object Guides Release. Note: The Lock Guides option locks all guides in the document. To lock an indi- vidual guide, select the guide when the Lock Guides option is turned off, and choose Arrange Lock.
Page 190 Grouping and ungrouping objects You can combine several objects into a group so that the objects are treated as a single unit. You can then move or transform a number of objects without affecting their individual positions or attributes. For example, you might group the objects in a logo design, so that you can move and scale the logo as one unit.
Page 191 Selecting grouped objects Once objects have been grouped, select- ing any part of the group with the selec- tion tool selects the entire group. If you are unsure whether an object is part of a group, select it with this tool. direct-selection tool lets you select a single path or object that is part of one...
Page 192 To select grouped objects with the group-selection tool: Select the group-selection tool. Position the pointer on the path you want to select, and click the mouse button. Click the same place again to select successive groups until you have selected everything you want to include in your selection.
Page 193 Third click selects Fourth click selects next group next group (group B). (group C).
Page 194 Grouping stacked objects Grouped objects must be stacked in suc- cession on the same layer of the art- work; therefore, grouping may change both the layering of objects and their stacking order on a given layer. See Stacking objects About layers more information.
Page 195 Locking and hiding objects You can use the Lock and Hide com- mands to isolate parts of your artwork on which you do not want to work. Once an object has been locked or hidden, it cannot be selected or modiﬁed in any way.
Page 196 To lock or hide artwork: Choose one of the following options: • To lock objects, ﬁrst select the objects, and then choose Arrange Lock. • To lock all unselected objects, hold down the Option key and choose Arrange Lock. • To hide a selected object, select the objects, and choose Arrange Hide.
Page 197 Modifying Shapes and Applying Special Effects Using the transformation tools Applying special effects to graphic objects Changing gradients and patterns into objects Changing vector graphics into bitmap images Applying special effects to bitmap objects Using the Pathfinder filters to modify shapes Converting strokes to filled objects Cutting objects with objects Working with compound paths...
Page 198 Using the transformation tools The transformation tools consist of the rotate tool, the reﬂect tool, the scale tool, the shear tool, and the blend tool. Except for the blend tool, the transfor- mation tools change objects relative to a ﬁxed point on or around the object. •...
Page 199 Defining the point of origin All of the transformation tools except the blend tool perform their functions in relation to some ﬁxed point on or around the object. This ﬁxed point is called the point of origin. The default point of origin is the object’s center point.
Page 200 Original Scaled from new point of origin When you transform an object, the changes take place horizontally (along the x axis), vertically (along the y axis), or along both axes, relative to the Constrain Angle setting in the General Preferences dialog box.
Page 201 Repeating transformations Sometimes you may want to repeat the same transformation several times, especially when you are copying objects. The Repeat Transform com- mand in the Arrange menu lets you repeat a move, scale, rotate, reﬂect, or shear operation as many times as you want.
Page 202 Rotating Rotating an object turns it around a ﬁxed point that you designate. The default point of origin is the object’s center point. Copying while rotating is a useful way to create radially sym- metrical objects, such as the petals of a ﬂower.
Page 203 Click to set point Then drag to rotate. of origin. To rotate a copy of the object instead of the object itself, hold down the Option key after you start to drag. For ﬁner control, drag farther from the object’s point of origin. To rotate by specifying an angle: Select the object you want to rotate.
Page 204 Enter the rotation angle in degrees. Enter a negative angle to rotate the object clockwise; enter a positive angle to rotate the object counterclockwise. Choose one of the following options: • To rotate the object, click OK. • To rotate a copy of the object, click Copy.
Page 205 Choose Arrange Result Repeat Transform as needed.
Page 206 Rotating each object in a selection The Rotate option in the Transform Each dialog box rotates each object in a selection around its own center point. The effect differs from that of the rotate tool, which rotates objects in a selection around a common point of origin.
Page 207 In the Rotate text box, enter the angle by which you want to rotate the selected objects, between –360 degrees and 360 degrees. Select the Preview option to preview the effect before you apply it. Choose one of two options: •...
Page 208 Reflecting Reﬂecting an object ﬂips the object across an invisible axis that you specify. Copying while reﬂecting lets you create a mirror image of an object. To reflect by dragging: Select the object you want to reﬂect. Select the reﬂect tool.
Page 209 Click to set point of Result reﬂection. • Adjust the axis of reﬂection by drag- ging the pointer instead of clicking. Hold down the Shift key to constrain the tool to multiples of 45 degrees. As you drag, the invisible axis of reﬂection rotates around the point you clicked in step 3.
Page 210 For ﬁner control over the reﬂection, drag farther from the object’s point of origin. To reflect by specifying an axis: Select the object you want to reﬂect. Choose one of two options: • To set the center point as the point of origin, double-click the reﬂect tool.
Page 211 If you choose an angled axis, enter the desired angle of reﬂection in degrees, relative to the x axis. Positive angles reﬂect the axis counterclockwise; negative angles reﬂect it clockwise. Choose one of two options: • To reﬂect the object, click OK. •...
Page 212 Scaling Scaling an object enlarges or reduces it horizontally (along the x axis), vertically (along the y axis), or both horizontally and vertically, relative to the point of origin you designate. The default point of origin is the object’s center point. Vertical Horizontal Both...
Page 213 • Click to set the point of origin from which you want the object to be resized; then move the pointer away from the point of origin, and drag to scale the object. Click to set point Then drag to scale. of origin.
Page 214 To scale by specifying scale factors: Select the object you want to scale. Select the scale tool. Choose one of two options: • To set the center point as the point of origin, double-click the scale tool. • To change the point of origin from which to scale the object, select the scale tool, hold down the Option key, and click the new point of origin.
Page 215 You can also choose to scale line weights automatically whether you scale objects by dragging or by the Scale dialog box. To do this, choose the Scale Line Weight option in the General Preferences dialog box. Scale Line Weight Scale Line Weight option on option off •...
Page 216 Scaling each object in a selection The Scale option in the Transform Each dialog box scales each object in a selec- tion around its own center point. The effect differs from that of the scale tool, which resizes objects in a selection around a common point of origin.
Page 217 In the Scale Horizontal and Vertical text boxes, enter the percentage by which to scale the selected objects, between –4000% and 4000%. Select the Preview option to preview the effect before you apply it. Choose one of two options: • To scale the objects by the speciﬁed amounts, click OK.
Page 218 Shearing Shearing an object slants, or skews, the object along the axis you specify. Copy- ing while shearing is useful for creating cast shadows. Vertical Horizontal Both To shear by dragging: Select the object you want to shear. Select the shear tool.
Page 219 • Click to set the point of origin from which you want the object to be sheared; then move the pointer away from the shear axis, and drag in the direction you want to shear the object. Hold down the Shift key to constrain the tool to multiples of 45 degrees.
Page 220 To shear by specifying an angle and an axis: Select the object you want to shear. Choose one of two options: • To set the center point as the point of origin, double-click the shear tool. • To change the point of origin from which to shear the object, select the shear tool, hold down the Option key, and click the point of origin.
Page 221 If you choose an angled axis, enter the angle of the axis that you want, in degrees, relative to the x axis. Original Shearing by a speciﬁed angle Choose one of two options: • To shear the object, click OK. •...
Page 222 Distorting The Free Distort ﬁlter varies the size and shape of an object. To distort an object: Select the object to distort. Choose Filter Distort Free Distort. The object’s image appears in the Distort box. (Deselect the Show Me option if you don’t want a preview.) Corner point Distort box Original object...
Page 223 Blending shapes Use the blend tool to create shaped blends made from a series of individual objects, each having a single stroke, ﬁll color, or both. For rules on blending shapes and their colors, see About blending. Important: To create linear or radial blends between two or more colors, use the Gradient palette.
Page 224 The Blend dialog box displays a recom- mended number of steps, along with the percentage of change in the ﬁrst and last steps, based on the two colors you are blending. For example, if you blend an object that is ﬁlled with 100% black with an object that is ﬁlled with 100% white, the pro- gram enters 254 in the Number of Steps text box because 254 is the maximum...
Page 225 To change the number of steps in the blend, enter a whole number between 1 and 1000 in the Number of Steps text box. To modify the percentage of change from the starting shape to the ending shape, enter any number between –100 and 200 in the First Blend and Last Blend text boxes.
Page 226 Click OK. The entire set of blended objects (excluding the original objects) is selected and grouped. Select anchor point Select anchor point on ﬁrst object. on second object. Result...
Page 227 About blending The Adobe Illustrator blend tool lets you create a series of intermediate objects and colors between two selected objects. You can blend between two open paths (such as two different lines), or between two closed paths (such as a circle and a square).
Page 228 Blend tool applied to distribute shapes evenly You can also blend between two open paths to create a smooth transition between objects, or you can combine blends of colors and objects to create color transitions in the shape of a partic- ular object.
Page 229 • You cannot blend between an open path and a closed path. Both paths must be either open or closed. • You cannot blend compound paths. • If you blend between one object painted with a process color and another object painted with a custom color, the blended shapes are painted with an appropriate process color.
Page 230 Applying special effects to graphic objects Illustrator provides a variety of ﬁlters for changing an object’s shape and path direction. • Roughening • Scribbling and tweaking • Twirling • Punking and bloating • Rounding corners • Adding drop shadows.
Page 231 Roughening The Roughen ﬁlter moves anchor points in a jagged array from the original object, creating a rough edge on the object. Original Rounded Jagged To roughen an object: Select the object you want to roughen. Choose Filter Distort Roughen. Set the size of the distortion by dragging the Size slider or entering a value between 0% and 200% in the...
Page 232 Specify the details per inch by drag- ging the slider or entering a value between 0 and 1000 in the Detail text box. Select the type of distortion you want around each anchor point—Smooth (for soft edges) or Corner (for sharp edges). Select the Preview option to preview the effect before you apply it.
Page 233 Scribbling and tweaking The Scribble option randomly moves anchor points away from the original object. The Tweak option moves anchor points on the selected object by the amount you specify. Original Scribble Tweak To scribble or tweak an object: Select the object you want to scribble or tweak.
Page 234 Choose any of the following options: • To randomly move anchor points away from the original object, select the Scribble option. In the Horizontal and Vertical text boxes, enter the amount to move points, between 0% and 100%, or drag the sliders. •...
Page 235 Twirling The Twirl ﬁlter and the twirl plug-in tool rotate a selection more sharply in the center than at the edges. Original 160˚ 320˚ To twirl an object: Select the object you want to twirl. Choose one of the following options: •...
Page 236 Punking and bloating The Punk and Bloat ﬁlters curve objects inward and outward from their anchor points. Original -20˚ -60˚ Punk ﬁlter Original 20˚ 60˚ Bloat ﬁlter...
Page 237 To bloat or punk an object: Select the object with a selection tool. Choose Filter Distort Punk and Bloat. Drag the slider toward Punk to curve the object inward from its anchor points, and move the anchor points outward; drag the slider toward Bloat to curve the object outward from its anchor points, and move the anchor points inward.
Page 238 Rounding corners The Round Corners ﬁlter converts the corner points of an object to smooth curves. Original 3-point 8-point To round corners on an object: Select the object whose corners you want to round. Choose Filter Stylize Round Corners. Enter a value, in points, in the Radius text box to determine the shape of the rounded curve.
Page 239 Adding drop shadows The Drop Shadow ﬁlter creates a three- dimensional shadow effect on any selected object. You can offset the drop shadow any distance from your object along the x or y axis, as well as vary the darkness of the drop shadow. Original Grouped Ungrouped...
Page 240 Enter the percentage darkness (% of black added) you want for the drop shadow. 100% creates a multicolored black, unless the original shape is gray (which creates a shadow of 100% black); 0% does not change the color of the drop shadow from that of the selected object.
Page 241 Changing gradients and patterns into objects The Expand command converts gradi- ents and patterns into a set of masked objects. This command can be useful if you are having difﬁculty printing these types of objects. Gradient before Pattern before and and after Expand after Expand ﬁlter ﬁlter applied...
Page 242 To convert gradients and patterns into objects: Select an object that is ﬁlled or stroked with a gradient or pattern. Choose from the following options: • Choose Object Expand. If you are expanding a gradient, in the Expand dialog box, enter the number of steps to which you want to convert the gradient, and click OK.
Page 243 TIFF copy over it. Once converted, you can apply plug-in ﬁlters, such as those designed for Adobe Photoshop, to the image as you would with any placed image. However, you cannot apply vector tools and com- mands (such as the type tools and the Pathﬁnder commands) to modify the...
Page 244 To create a bitmap version of artwork: Select the object you want to convert. Choose Object Rasterize. Choose a resolution from the Resolu- tion pop-up menu: Screen for monitor output, Medium for laser printer output, High for imagesetter output; or enter a value in the Other text box.
Page 245 You can use any of the plug-in ﬁlters supplied with Adobe Photoshop version 3.0.4 or later in Adobe Illustrator. You can also use the Gallery Effects ﬁlters included on the Adobe Illustrator Deluxe CD-ROM disc. (See the Adobe Gallery Effects User Guide for informa- tion on using Gallery Effects ﬁlters.)
Page 246 Creating a tiled effect on bitmap images The Object Mosaic ﬁlter creates sharp deﬁnition in an image by clustering pix- els of similar color values together into individual tiles. You can control the tile size, the spacing between tiles, and the total number of tiles, and preserve the proportions of the original image when creating the mosaic copy.
Page 247 When the Object Mosaic ﬁlter acts on a bitmap image, it creates a tiled copy, leaving the original bitmap image intact. Original bitmap Object Mosaic image ﬁlter applied To create a tiled effect on a copy of a bitmap image: Select a bitmap image.
Page 248 • Enter Tile Spacing values to determine the distance in points between each tile in the mosaic. • Enter Number of Tiles values to deter- mine the number of tiles horizontally and vertically in the mosaic. • Select the Lock Width option and click Use Ratio if you’ve changed the width for the mosaic and want to preserve the height-to-width ratio of the original...
Page 249 Colorizing a 1-bit image Using the Paint Style palette, you can specify the color you want to give to the black portion of 1-bit TIFF images. Original 1-bit image Colorized To colorize a 1-bit TIFF image: Select the 1-bit TIFF image. Use the Paint Style palette to paint the image with black, white, a process color, or a custom color.
Page 250 Note: Applying Pathﬁnder ﬁlters to complex selections, such as blends, may require large amounts of RAM. If you are unable to use a Pathﬁnder ﬁlter successfully, try increasing the memory size allotted to the Adobe Illustrator program.
Page 251 To use the Pathfinder filters: Select the objects to which to apply the ﬁlter. Choose Filter Pathﬁnder, and then choose the ﬁlter you want to apply: • The Unite ﬁlter traces the outline of all selected objects as if they were a single, merged object.
Page 252 • The Minus Back ﬁlter subtracts the backmost selected objects from the frontmost object. You can use this ﬁlter to delete areas of your illustration by adjusting the stacking order. • The Divide ﬁlter divides a piece of artwork into its component ﬁlled faces (a face is an area undivided by a line segment).
Page 253 • The Outline ﬁlter divides an object into its component line segments, or edges. Each edge can be ungrouped and independently manipulated. This ﬁlter is useful for cropping. For example, by drawing a shape around a set of objects and applying the Outline ﬁlter, you can cut away everything that falls outside the shape.
Page 254 Pathfinder filters Unite creates a single Intersect creates a new Exclude knocks out the merged shape from object from the common area where one shape overlapping, separate space shared by two overlaps another. original shapes. shapes. Minus Front subtracts the Minus Back subtracts the Divide creates separate frontmost object from...
Page 255 Pathfinder filters, continued Outline creates indepen- Trim removes hidden dent, stroked lines divided part of filled paths with- at each intersection. out merging. Merge removes hidden Crop divides shapes and filled paths; merges adja- crops images outside of centx/ overlapping ob- topmost shape.
Page 256 Setting Pathfinder preferences The Pathﬁnder Options dialog box lets you change the precision of Pathﬁnder ﬁlters, and remove redundant points or unpainted artwork created by the ﬁlters. To set Pathfinder options: Choose Filter Pathﬁnder Options. Choose from the following options: •...
Page 257 Converting strokes to filled objects The Outline Path ﬁlter traces the outline of all stroked paths within the selected artwork and substitutes a ﬁlled object with the same width as the original stroked path. This ﬁlter lets you modify the outline of an object more than you could if it were only a stroke.
Page 258 To create an outline of your artwork: Select the artwork you want to outline. The image can contain both ﬁlled and stroked paths, but only stroked paths will be outlined. Choose Filter Objects Outline Path. The outline replaces the original artwork and is selected.
Page 259 Cutting objects with objects The Apply Knife command in the Object menu and the knife tool in the plug-ins menu cut objects in a designated shape. The object you cut must be ungrouped. The Apply Knife command in the Object menu lets you use a selected object as a “cookie-cutter”...
Page 260 Choose Object Apply Knife. Object selected Apply Knife command applied Resulting objects pulled apart The shapes that result are ungrouped and selected.
Page 261 To cut objects using the knife tool: Choose one of two options: • To copy objects as you cut them, double-click the knife tool in the plug- ins toolbox. Select the Copy Objects option, and click OK. Drag the knife tool pointer over an object to cut it.
Page 262 Working with compound paths A compound path consists of two or more overlapping objects combined into a single compound object. Using the Compound Paths command enables you to create paths that have transpar- ent interior spaces where the original objects overlapped (such as the interi- ors of the letters o and g).
Page 263 Compound paths act as grouped objects. Therefore, if you want to select part of a compound path, you must use direct-selection tool. Note: If you use complex shapes as compound paths, or if you use several compound paths in a ﬁle, you may have problems printing the ﬁle.
Page 264 Creating compound paths A compound path is two or more paths painted to appear transparent when they overlap. Turning an object into a compound path paints all objects in the compound path with the attributes of the backmost object in the stacking order.
Page 265 Reversing paths within compound paths When creating a compound path, you can adjust whether overlapping paths appear transparent or ﬁlled with the Reverse Path Direction option in the Attributes dialog box. Compound path: Reversed option inner circle selected changed on inner circle To reverse paths in a compound path: Use the direct-selection tool...
Page 266 Working with masks Masks crop part of an image so that only a portion of the image appears through a shape or shapes you create. In Adobe Illustrator, you mask objects using the Make Mask command Masking: Masking Result: Image appears...
Page 267 To see whether an object is a mask: Select the object. Choose Object Attributes. The Attributes dialog box lists the masking status of the selected object. You can also select all masks in your art- work using the Select Masks command.
Page 268 Creating masks A masking object can consist of a single path or a compound path. To mask objects: Draw or select the object you want to use as a mask. Make sure that the object is on top of the objects you want to mask. When masking objects on different layers, keep in mind that objects on intermediate layers become part of the...
Page 269 Choose Object Masks Make. The mask loses its paint attributes and is assigned a ﬁll and stroke value of None. Mask and objects Mask command applied selected To undo the effects of a mask: Select the objects you no longer want to use as a mask.
Page 270 Modifying masks Once you have created a mask, the mask and the masked objects can be selected and modiﬁed as any other object. To find out what objects are affected by a mask: Choose the direct-selection tool. Click the mask once to select it; Shift-click to select the masked objects, until all are selected.
Page 271 Use the direct-selection tool to select an object within the masked artwork. Choose Edit Paste in Front or Edit Paste in Back. The object is pasted in front of or behind the selected object and becomes part of the masked artwork.
Page 272 Selecting masks The Select Masks command ﬁnds and selects masks in the document. If there aren’t any objects selected, the com- mand selects all of the masks in your document. If objects are selected, the ﬁlter deselects any of those objects that are not masks.
Page 273 Filling and stroking masks The Fill & Stroke for Mask command creates two objects that serve as the ﬁll and stroke for a mask. The command places the stroked object on top of the mask, and it places the ﬁlled object behind the masked objects.
Page 274 Choose Filter Create Fill & Stroke for Mask; then click OK. Mask selected Fill & Stroke for Mask ﬁlter applied...
Page 275 Painting About painting Using the Paint Style palette Setting paint attributes Adjusting colors Saturating and desaturating colors Inverting colors Creating transparent color effects Blending colors between objects About custom colors, gradients, and patterns Outlining paths with patterns Selecting colors using other color systems Making color changes Selecting objects with the same fill or...
Page 276 Painting, continued Setting stroke attributes with the Paint Style palette Creating wavy and zigzag lines Adding arrowheads Copying and applying paint attributes with the eyedropper and paint bucket tools...
Page 277: About Painting
About painting Paths and objects are painted with the current paint attributes set in the Paint Style palette. You can select an object and change its paint attributes at any time. The new paint attributes are then assigned to all new objects you create (except type) until you change the attributes again.
Page 278 Filling and stroking affect closed and open paths differently, as the following examples illustrate. Open paths are ﬁlled as if the endpoints were connected by a straight line. Closed paths Open paths See also • Using the Paint Style palette •...
Page 279 Using the Paint Style palette You use the Paint Style palette to set paint attributes for new and existing objects. All newly created objects are painted with the paint attributes cur- rently displayed in the Paint Style palette. See also About painting Setting paint...
Page 280 The Paint Style palette Click on any option for information on that option. Color selection options Palette Fill and viewing stroke options boxes Process color Paint or tint swatches sliders Stroke attributes return to text...
Page 281 Setting paint attributes The following procedure describes how to set ﬁll and stroke attributes using the Paint Style palette. See Using the Paint Style palette About painting more information. To set paint attributes: Select one or more paths whose paint attributes you want to change, or dese- lect all paths in your artwork if you want the attributes to apply only to new paths...
Page 282 Changing a “Mixed” ﬁll or stroke changes the color of all selected paths. If the objects have different stroke weights, the Stroke Weight box is empty. Any common attributes, including line attributes and individual values of C (cyan), M (magenta), Y (yellow), and K (black) are displayed and can be adjusted.
Page 283 • Select the None, White, or Black color selection option to ﬁll or stroke with none, white, or black. • Select the Process Color, Custom Color, Pattern, or Gradient color selec- tion option and then choose a color from the scrolling list or use the sliders to mix a process color.
Page 284 Using the paint swatches You can use the scrolling list of paint swatches on the left of the Paint Style palette to store up to 225 colors in the palette. The paint swatches you deﬁne are saved with the document. This feature lets you create customized sets of paint for different documents.
Page 285 • Option-click a paint swatch to apply the color to that swatch. (To copy a swatch to a new location, hold down the Option key and drag the swatch.) • Drag the name of the custom color, pattern, or gradient from the scrolling list on the right side of the palette to a paint swatch.
Page 286 Filling objects and stroking lines with white, black, and none To ﬁll or stroke with white or black, select the White or Black option, respec- tively. You can also adjust the percent- age, or tint, of black by typing a number in the text box or by adjusting the Tint slider until the shade is as you want it.
Page 287 Cyan, Magenta, Yellow, and Black sliders until the color you want appears in the Fill or Stroke box in the palette. Note: The Adobe Illustrator program creates an approximate screen repre- sentation for process and custom colors. Because on-screen colors may be very different from your printed output, it’s...
Page 288 To select a process color in the Paint Style palette: Select the Fill or Stroke box to indi- cate which attribute you want to change. Select the Process Color option at the top of the palette. Four sliders and text boxes appear, one for each of the four process colors.
Page 289 As you adjust each color value, the col- ors along the other sliders change to reﬂect the adjustment. For example, as you move the black slider to the right, black is added to the cyan, magenta, and yellow along the other three sliders. The Fill or Stroke box (whichever is selected) displays the composite pro- cess color.
Page 290 Adjusting colors The Adjust Colors ﬁlter lets you change the amounts of cyan, magenta, yellow, and black in objects of different colors. This ﬁlter also lets you convert the ﬁll or stroke color (or both) to a process color from a custom color or to a process (four-color) black from a solid black.
Page 291 Choose any of the following options: • To convert the ﬁll or stroke to a process color from a custom color, select the Fill or Stroke (or both) options, and select the Custom to Process option. • To convert a solid black to a four-color black, select the Fill or Stroke (or both) options, and select the Black to Process option.
Page 292 Saturating and desaturating colors The Saturate ﬁlter darkens or lightens the colors of selected objects by increasing or decreasing the percent- ages of CMYK color values or the per- centage tint of custom colors. Original Desaturate Saturate To saturate or desaturate colors: Select the objects whose colors you want to saturate or desaturate.
Page 293 Inverting colors The Invert Colors ﬁlter creates a color negative (or inverse) of the selected object. When you invert an image, its color values on the CMYK scale are con- verted to the inverse of the CMYK color values of the original. For example, if an object is ﬁlled with 0% cyan, 0% magenta, 100% yellow, and 25% black, the inverted image will contain 100%...
Page 294 Creating transparent color effects By using the Hard Soft ﬁlters, you can mix the colors in overlapping painted objects. For information on creating transparent effects by over- printing, see Step 3: Select overprint options for colors you want to appear transparent.
Page 295 Using the Hard filter The Hard ﬁlter mixes two or more colors from overlapping objects. The mix color is created by combining the highest CMYK value from each color in the selec- tion. For example, if Color 1 is created from 20% cyan, 66% magenta, 40% yel- low, and 0% black;...
Page 296 Using the Soft filter The Soft ﬁlter makes the top color of overlapping colors semitransparent and then divides the image into its compo- nent faces. You specify the amount of color to show through overlapping objects.If you overlap multiple objects, each object gets the selected level of transparency.
Page 297 Blending colors between objects The Blend ﬁlters create a series of intermediate colors between a group of selected ﬁlled objects, based on the objects’ vertical or horizontal orienta- tion, or on their stacking order. The ﬁlters do not affect strokes or unpainted objects.
Page 298 Choose one of three options: • To ﬁll the intermediate objects with gradated blends between the frontmost and backmost ﬁlled objects, choose Filter Colors Blend Front to Back. • To ﬁll the intermediate objects with gradated blends between the leftmost and rightmost ﬁlled objects, choose Filter Colors...
Page 299 About custom colors, gradients, and patterns You use the Paint Style pattern to paint with custom colors, ﬁll with gradients, ﬁll objects with patterns. You can also create your own custom colors, gradients, and patterns. See Creating and working with gradient ﬁlls, Creating and working with patterns.
Page 300 You can also customize your startup ﬁle so that custom colors, gradients, pat- terns, and swatches you use frequently are loaded when the program is opened. Pattern option Gradient option Custom color option...
Page 301 Painting with custom colors In Adobe Illustrator, a custom color may be a spot color from a color matching system or it may be a process color you have named and saved for easy editing or as a temporary placeholder for a spot color.
Page 302 matching system, typing 200 would select PANTONE 200. For a screened percentage of that color, enter a per- centage in the Tint text box, or drag the triangular slider until the color in the Fill or Stroke box appears as desired. (When printing color separations using the Color Separation Setup dialog box, you can convert a spot color back to its...
Page 303 Filling objects with patterns You can apply patterns as ﬁlls or as paths that outline an object (see Outlining paths with patterns). Note: Pattern tiles for ﬁll and path patterns differ in their design and tiling. (For more information, see patterns tile.) For the best results, use ﬁll patterns to ﬁll objects, and...
Page 304 Select the name of a ﬁll pattern. In addition to the default list of patterns, Illustrator comes with a large selection of patterns—including some 50 patterns from the Adobe Collector’s Edition: Pat- terns and Textures. You can load pat- terns with the Import Styles command.
Page 305 Filling an object with gradients Objects cannot be stroked with gradi- ents. For information on printing con- siderations when creating a gradient, Printing gradients and color blends. To fill an object with a gradient: In the Paint Style palette, select the objects you want to ﬁll.
Page 306 For illustrations of some effects you can create, see the Adobe Illustrator Tutorial and Beyond the Basics. You can choose path patterns from the...
Page 307 You can apply the same pattern to the sides and corners of an object, or you can vary the pattern, such as on square- corner rectangles. Path pattern designs may include up to three pattern tiles to build a design for the sides, outer cor- ners, and inner corners of objects.
Page 308 None from the list. You can choose a different pattern for each part of the path. The Adobe Illustrator path patterns are named with a sufﬁx indicating the type of design: “.side” for side, “.outer” for the outer corner designs, and “.inner”...
Page 309 To apply a path pattern to part of a path: In the Path Pattern dialog box, choose from the following options: • Click the Sides box to select the option and apply the pattern to the sides of an object. •...
Page 310 To adjust how the pattern tile fits the path: In the Path Pattern dialog box, choose one of the three Tile Fitting options: • Choose Stretch to Fit to lengthen or shorten the pattern tile to ﬁt the object. This option can result in uneven tiling. •...
Page 311 To scale a path pattern: In the Tile Size section of the Path Pattern dialog box, enter a new width or height for the pattern tile. If applying a pattern to a circle, use a smaller width than the circle’s diameter for a donut effect, or match the tile’s width to the circle’s diameter for a solid effect.
Page 312 To flip a path pattern horizontally, vertically, or both: In the Path Pattern dialog box, select the Tile Position option to ﬂip the pattern horizontally, vertically, or both. Click OK.
Page 313 Selecting colors using other color systems Adobe Illustrator lets you select colors using other color systems—including PANTONE® Process Color System, Toyo Ink Electronic Color Finder 1050, FOCOLTONE® COLOUR System, and Trumatch™ color swatching system. To load predefined custom colors into...
Page 314 Using the PANTONE Matching ® System To use the PANTONE printing ink colors, ﬁrst determine the ink color you want by using either the PANTONE Color Formula Guide 747XR or an ink chart obtained from your printer. PANTONE books are available from print shops and graphic arts supply houses.
Page 315 Select from PANTONE Coated, PANTONE Uncoated, PANTONE Process, and PAN- TONE ProSim custom colors. For more information, contact PANTONE at: PANTONE, Inc. 590 Commerce Blvd. Carlstadt, NJ 07072 (201) 935-5500...
Page 316 Using the Toyo Color Finder™ 1050 The Toyo Ink Electronic Color Finder™ 1050, created by Toyo Ink Manufactur- ing Co., Ltd., provides more than 2000 colors, based on the most common printing inks in Japan. You can choose a color from one of two ﬁles. The Toyo 88 ﬁle contains 1050 colors from the Toyo 88 Color Finder 1050.
Page 317 conditions. To obtain the same result as in the color book, use spot color ink for colors marked with one or two asterisks. For more information, contact Toyo at the following address: Toyo Ink Manufacturing Co., Ltd. 3-13 2-chome Kyobashi Chuo-ku, Tokyo 104 (011) 81-3-3272-0781...
Page 318 Using the FOCOLTONE COLOUR SYSTEM The FOCOLTONE COLOUR SYSTEM pro- vides 763 CMYK colors. FOCOLTONE colors help avoid prepress trapping and register problems by showing the over- prints that make up the colors. All of the colors convert to spot colors with a sin- gle mix of CMYK inks.
Page 319 Using the TRUMATCH color swatching system The TRUMATCH color swatching system provides predictable CMYK color match- ing with more than 2000 achievable, computer- created colors. TRUMATCH colors cover the visible spectrum of the CMYK gamut in even steps. The TRUMATCH COLORFINDER displays up to 40 tints and shades of each hue, each originally created in four- color process, and each reproducible in...
Page 320 Making color changes To select objects whose paint attributes you want to change, you can use the selection tools or one of four ﬁlters in Illustrator for Selecting objects with the same ﬁll or stroke options. (For informa- tion on the selection tools, see Selecting objects.) You can also make global changes to...
Page 321 Selecting objects with the same fill or stroke options Four selection ﬁlters select objects with the same ﬁll color, paint style (ﬁll and stroke), stroke color, or stroke weight. You can use these ﬁlters to edit various ungrouped objects the same way. To select all objects with the same properties: Choose any of the following options:...
Page 322 choose the stroke color from the Paint Style palette. Then choose Filter Select Same Stroke Color. • To select all objects with the same stroke weight, select one or more objects with the same stroke weight, or choose the stroke weight from the Paint Style palette.
Page 323 Deleting unpainted objects Unpainted objects can make artwork less efﬁcient and slow to print. You can create unpainted objects, for example, by inadvertently clicking a drawing tool in the artwork area, and then choosing another tool when the ﬁll and stroke options are set to None.
Page 324 Setting stroke attributes with the Paint Style palette Use the Paint Style palette to select all stroke attributes, including the thick- ness (line weight) of the stroke, how the stroke is capped and joined, and whether a stroke is solid or dashed. To set stroke attributes using the Paint Style palette: In the Paint Style palette, select the...
Page 325 If you enter a weight of 0, the program displays and prints a 1-pixel-wide hair- line. (A pixel can range from 1/72 inch to less than 1/3000 inch, depending on the resolution of the output device.) Hairlines thinner than 0.25 point may not reproduce in ﬁnal printing, depend- ing on the printer’s resolution.
Page 326 To select a Caps option for a line: In the Paint Style palette with the Stroke box selected and a Stroke Weight entered, choose from these options: • Select the Butt Caps option for stroked lines with squared ends. • Select the Round Caps option for stroked lines with semicircular ends.
Page 327 To select a Joins option for a line: In the Paint Style palette with the Stroke box selected and a Stroke Weight entered, choose from these options: • Select the Miter Joins option for stroked paths with pointed corners; then enter a Miter Limit between 1 and 500.
Page 328 • Select the Bevel Joins option for stroked paths with squared corners. Caps Joins If the Auto option is not selected in the Paint Style palette, click Apply or press Return.
Page 329 To select a solid or dashed line: In the Paint Style palette with the Stroke box selected and a Stroke Weight entered, choose from these options: • Select the Solid option to create a solid line. • Select the Dashed option to create a dashed line;...
Page 330 The numbers entered are repeated in sequence. So once you have set the pat- tern, it’s unnecessary to ﬁll in all the text boxes. Dash patterns are speciﬁed in points. Effects of line cap styles on dashed lines...
Page 331 Creating wavy and zigzag lines The Zigzag ﬁlter adds anchor points to an existing path or line, and then moves some of the points to the left of (or upward from) the path, and some to the right of (or downward from) the path. You can specify the number of anchor points to make and the distance to move them.
Page 332 To convert straight lines to zigzags: Select the line you want to convert. Choose Filter Distort Zigzag. Enter the distance you want to move points on the line in the Amount text box, or drag the slider. Enter the number of ridges per unit of measure you want in the Ridges text box, or drag the slider.
Page 333 Adding arrowheads The Add Arrowheads ﬁlter lets you add an arrowhead or tail to any selected line. The resulting arrows can be edited like any other object. Arrowheads and Modiﬁed arrows arrowtails To add arrowheads to a line: Select a line. Choose Filter Stylize Arrowheads.
Page 334 To rescale the size of an arrowhead, enter the percentage you want in the Scale text box. Choose the Start or End option to place the arrowhead at the beginning or the end of the line; choose the Start and End option to place the arrowhead at both ends of the line.
Page 335 Copying and applying paint attributes with the eyedropper and paint bucket tools You can use the eyedropper tool to copy paint attributes from any object in an Illustrator document and then use the paint bucket tool to apply the attributes to another object.
Page 336 To copy paint attributes using the eyedropper tool: Select the eyedropper tool. Choose any of the following options: • Click an object to sample its attributes. The object can be unselected, locked, or in an inactive document. • Drag the pointer from within an Illus- trator document to the object whose attributes you want to sample.
Page 337 To apply paint attributes using the paint bucket tool: Select the paint bucket tool. Click any object to select the object and paint it with the attributes currently in the Paint Style palette. Note: To toggle between the eyedropper tool and the paint bucket tool, hold down the Option key while either tool is currently selected.
Page 338 To change the paint attributes affected by the paint bucket or eyedropper tool: Double-click the paint bucket eyedropper tool. The Paint Bucket/ Eyedropper Options palette appears. Select the attributes you want to copy with the eyedropper and apply with the paint bucket.
Page 339 Creating Custom Colors, Gradients, and Patterns About custom colors, gradients, and patterns Creating custom colors Creating and working with gradient fills Creating and working with patterns Importing styles from other documents Creating a custom startup file...
Page 340 About custom colors, gradients, and patterns Any custom colors, gradients, and pat- terns you create are saved with the doc- ument. You can load them from one doc- ument into another by using the Import Styles command or by creating a custom startup ﬁle that loads the custom colors, gradients, and patterns you want when...
Page 341 Creating custom colors You can deﬁne and name your own cus- tom colors using white, black, or per- centages of CMYK. Creating your own custom colors lets you select process colors in the Paint Style palette by name, import process colors from one docu- ment to another, and make global color changes to artwork.
Page 342 Enter a name for the color in the Change Name To text box. It’s a good idea to name each custom color distinctively so that the new custom color doesn’t replace another custom color with the same name in an open ﬁle. Select the White or Black option and choose a tint of gray, or select a process color using one of the procedures...
Page 343 Modifying custom colors You can use the Paint Style palette to modify the tint of a custom color, whereas you use the Custom Color dialog box to modify all other attributes of a custom color. When you modify a custom color, the new color replaces all objects painted with the custom color’s former deﬁnition.
Page 344 To modify the tint of a custom color: Choose the custom color you want to change using the Paint Style palette. Drag the Tint adjustment slider or enter a tint value in the tint percentage text box. The lower the number, the lighter the tint will be.
Page 345 To modify a custom color using the Custom Color dialog box: Choose Object Custom Color, or double-click any of the custom colors listed in the Paint Style palette. The Custom Color dialog box appears. Select the color you want to change. Change the color to black, white, or a process color using the dialog box controls.
Page 346 Deleting custom colors Deleting unused colors from the Cus- tom Color list reduces the size of your ﬁle and lets you more easily access the custom colors you keep. This procedure deletes the speciﬁed colors from all open documents. (It does not delete col- ors from your startup ﬁle.) The default custom colors will reappear the next time you open the documents.
Page 347 Creating and working with gradient fills A gradient ﬁll is a graduated blend between two or more colors or tints of the same color. You use the Gradient dialog box to create your own gradients and to modify existing gradients. You can also add intermediate colors to a gradient to create a ﬁll deﬁned by multi- ple blends between colors.
Page 348 To create a gradient: Choose Object Gradient, choose Window Show Gradient, or double- click a gradient name in the Paint Style palette to display the Gradient palette. Choose one of two options: • To create a new gradient, click New. The name New Gradient, followed by a number, appears in the list.
Page 349 Specify a percentage of white or black, a process color, or a custom color, by clicking the appropriate color option box and using the procedures in Setting paint attributes. Note: If you create a gradient between custom colors, be sure to deselect the Convert to Process option in the Separa- tion Setup dialog box to print the gradient as individual separations.
Page 350 Click the Linear or Radial option. Linear and radial gradients To display the full palette or only the top panel, click the palette display con- trol below the gradient bar at the top right of the palette. Click to collapse and expand palette To adjust the gradient’s starting or ending point, drag the triangles below the bar.
Page 351 To adjust the midpoint of the ﬁll (the point at which the colors are at 50%), drag the diamond located above the bar. Gradient ﬁlls with midpoint at different percentages...
Page 352 Modifying gradients You can modify gradients by transpos- ing the beginning and ending colors, or you can add colors to blend between multiple colors. It’s a good idea to ﬁll an object with the gradient you plan to adjust. This lets you see the effect on the artwork as you adjust the gradient.
Page 353 To add intermediate colors to a gradient: Click anywhere below the gradient bar to deﬁne another triangle. Select a color and adjust the triangle as you would any other starting or ending color. Click below bar to define new color To delete an intermediate color, drag the triangle off the gradient bar.
Page 354 To transpose colors in a gradient: Drag the starting color triangle below the gradient bar to the ending color triangle, or vice versa. You can use this procedure with any two starting and ending points in a gradient. Transposing colors...
Page 355 Adjusting gradients with the gradient tool Once you have ﬁlled an object with a gradient, the gradient tool lets you mod- ify the gradient by “repainting” the ﬁll along an imaginary line you drag. This tool lets you change the direction of a gradient, change the starting and end- ing points of a gradient, and apply a gradient across multiple objects.
Page 356 Release the mouse button to set the gradient’s ending point. Drag to set gradient’s Result direction and length. To apply a gradient across multiple objects: Select the objects you want to ﬁll with a gradient. Fill each object with the gradient using the Paint Style palette or the paint bucket...
Page 357 Position the pointer where you want to deﬁne the starting point of the gra- dient, and drag across the object in the direction you want the gradient to be painted. Release the mouse button where you want to set the gradient’s ending point. Default gradient ﬁll Gradient applied across objects...
Page 358 Deleting gradients This procedure deletes the speciﬁed gradients from any open Illustrator doc- uments. Make sure you close any docu- ments that you don’t want affected. (If any object is currently painted with that gradient, a message appears.) Any objects painted with a deleted gradient are ﬁlled with black.
Page 359 (with the exception of masks or gradients), or you can design a pattern from scratch with any of the tools in the Adobe Illustrator program. You can customize any pat- tern by resizing the pattern, or by color- ing the pattern’s objects.
Page 360 Patterns intended for ﬁlling objects (ﬁll patterns) differ in their design and tiling from patterns designed to outline paths (path patterns). For best results, use ﬁll patterns to ﬁll objects and path patterns to outline objects. • How patterns tile •...
Page 361 How patterns tile Patterns tile from left to right from the ruler origin, by default the bottom of the artwork, to the top of the artwork. Only one tile makes up a ﬁll pattern, whereas up to three tiles can comprise a path pattern—for the sides, outer corners, and inner corners.
Page 362 Guidelines for constructing patterns Follow these general guidelines when constructing pattern tiles: • As you create your pattern tile, enlarge the artwork to align elements more accurately, and then reduce the artwork for the ﬁnal selection. • For greatest efﬁciency in previewing and printing, a ﬁll pattern tile should be about 1/2”...
Page 363 • To make the pattern easier to print, delete any unnecessary detail from the artwork. If possible, group objects with the same paint attributes so that they are adjacent in the stacking order. • To create simple line patterns, layer stroked lines of varying widths and colors, and place a bounding box behind the lines to create a pattern tile.
Page 364 • When painting a tile, apply named custom colors to make it easier to change colors later. See Creating custom colors for more information. • To make an organic or textural pattern appear irregular, vary the tile artwork subtly, not dramatically, for a more realistic effect.
Page 365 • Corner tiles must have the same height as side tiles to align properly on the path. If you plan to use corner tiles with your path pattern, align objects in the corner tile horizontally with objects in the side tiles, so that the patterns tile correctly.
Page 366 Constructing simple patterns and defining patterns To create a pattern, you deﬁne artwork as a pattern tile using the Pattern dialog box. The procedure is similar to deﬁn- ing a custom color or a gradient. To create and define a pattern: Create artwork for the pattern (see Guidelines for constructing patterns).
Page 367 With the selection tool, select the art- work that will make up the pattern tile. Choose Object Pattern. Click New. A preview of the pattern tile appears in the upper right corner of the dialog box. Name the pattern using up to 31 characters.
Page 368 Constructing geometric patterns Where you draw the bounding box determines how a geometric pattern tiles. See How patterns tile for more information. To construct a geometric pattern: If necessary, construct a geometric object, paint it, and display its center point using the Object > Attributes dialog box.
Page 369 When the copy of the object has snapped into place, release the mouse button and then release the Option and Shift keys. Shift-click to select both objects, and begin dragging the objects to the right by one of their anchor points; then hold down the Option and Shift keys to create a copy and constrain the move.
Page 370 Using the rectangle tool follow one of two methods: • For a ﬁll pattern, draw a bounding box from the center point of the upper left object to the center point of the lower right object. • For a path pattern, draw a bounding box from the center point of the artwork, holding down the Option key and the Shift key as you drag to draw from the...
Page 371 Paint the rectangle and the geomet- ric objects the desired color. If you painted the rectangle, copy it, ﬁll and stroke it with None, and choose Arrange > Send to back to make it the bounding box and backmost in your artwork.
Page 372 Constructing patterns with irregular textures You can create an irregularly textured ﬁll pattern that will tile seamlessly using this procedure. Fill patterns clip any art- work outside the bounding box; path patterns do not. To create an irregularly textured path pattern, select and deﬁne as a pattern only the texture within the bounding box.
Page 373 Select the lines and the box. With the pointer on the lower left cor- ner of the box, drag it to the right; then hold down the Option and Shift keys to make a copy and to constrain the move. Draw texture and then copy on left side of...
Page 374 Select the right box; delete it. Then select right to create identical rectangle and texture on the right delete it . . . and left. Use the freehand tool to draw a tex- ture with objects or lines intersecting only the box’s top side. Select all lines crossing the top and the bounding box.
Page 375 With the pointer on the upper right corner of the box, drag it down; then hold down the Option and Shift key. Draw texture at then copy texture top of rectangle; and rectangle. When the upper left corner point of the copy snaps to the box’s lower left corner point, release the mouse button and the Option and Shift keys.
Page 376 Select the lower box and any objects that don’t cross the top box; delete them. Select lower box; to create identical delete it . . . texture on bottom. Use the freehand tool to ﬁll the box with a texture, without intersecting the box’s edges.
Page 377 To create symmetrical corner tiles from a side tile: Open a path pattern ﬁle, supplied with Adobe Illustrator on the Deluxe CD-ROM, that you want to use. Choose Object > Pattern. Select the tile you want to use. Click Paste to paste a copy of the tile in the center of your artwork.
Page 378 Select the tile and the bounding box. Use the rotate tool to rotate the tile and its bounding box 180 degrees. Pasted tile Tile rotated 180 Using the rotate tool, Option-click the lower left corner of the bounding box. Enter a value of 90 and click Copy to create a copy ﬂush left of the ﬁrst tile.
Page 379 When the copy’s upper right anchor point snaps to the corner tile’s lower right anchor point, release the mouse button and the Option and Shift keys. This third copy is for alignment. Rotate 90 and Option-drag corner tile copy right tile. to make third copy.
Page 380 Select the artwork in the right tile. Drag it to the left, holding down the Option key and the Shift key so that the artwork overlaps that in the corner tile. Copy, move right Result tile over corner. Edit the corner tile to line up its art- work vertically and horizontally with the tiles next to it.
Page 381 Using the reﬂect tool reﬂect the tile –135 , and copy it. The adjustment matches how Adobe Illustrator reﬂects corner tiles as it applies them to inner corners. Select the tile and its bounding box, and deﬁne them as a pattern by choos- ing Object >...
Page 382 Modifying patterns You can edit an existing pattern to create a new one. You can also edit a pattern and save it under its original name. Any new and existing objects painted with that pattern are painted with the new deﬁnition rather than with the old deﬁnition.
Page 383 To preserve different patterns with the same name in open documents, close any documents that you do not want affected. Choose Object Pattern. Choose one of two options: • To save the new pattern with the same name, select the name of the existing pattern and click OK.
Page 384: Moving Patterns
Moving patterns Patterns begin tiling from the ruler ori- gin and keep tiling in a left-to-right sequence, from bottom to top, until the selection is ﬁlled. See How patterns tile for more information. You can adjust where all patterns in your artwork begin tiling by changing a document’s ruler origin.
Page 385 Transforming pattern-filled objects If an object that you want to transform is ﬁlled with a pattern, you can choose to transform only the pattern, transform only the object, or transform the pattern and object simultaneously. Once you have transformed a ﬁll pat- tern, all patterns that you subsequently apply will be transformed the same way.
Page 386 To transform a pattern and object using a transformation tool: Use the selection tool to select the pattern-ﬁlled object. Double-click the transformation tool you want to use. Choose one or both of the following options: • Select the Pattern Tiles option to transform the pattern tiles.
Page 387: Deleting Patterns
Deleting patterns You should eliminate unused patterns in your ﬁle. Any objects painted with a deleted pattern are ﬁlled with black. To delete one or all unused patterns: Choose Object Pattern. Choose one of the following options: • Select the pattern you want to delete. •...
Page 388 Previewing and printing patterns The Preview and Print Patterns option in the Document Setup dialog box lets you choose whether to preview and print patterns in your artwork. By default, this option is turned on. Because patterns can signiﬁcantly slow previewing and printing, you may want to turn off the Preview and Print Patterns option.
Page 389 Importing styles from other documents You can import the style characteris- tics—including custom colors, patterns, gradients, and graph designs—from an Illustrator document into your current document by using the Import Styles command. When you import styles into your docu- ment, the new custom colors, patterns, gradients, and graph designs are added to your document’s scrolling lists.
Page 390 By adding these elements to the startup ﬁle, you make them available in every new Adobe Illustrator document you create. In addition, any new documents you create have the same Document Setup and Page Setup settings as those found in the startup ﬁle, and they use the...
Page 391 To create a custom startup file: Make a backup copy of the current default startup ﬁle, Adobe Illustrator Startup, and then save the backup ﬁle in a different location. This action saves the original startup ﬁle in case you need it again.
Page 392 Page Setup and Document Setup dialog boxes, as well as the view preferences, the ruler ori- gins, and the page origins. Save the new ﬁle as Adobe Illustrator Startup, and place it inside the Plug-ins folder.
Page 393: Using Layers
Using Layers About layers Using the Layers palette Creating layers and setting layer options Drawing objects on layers Moving objects between layers Changing the order of layers Deleting layers Locking layers Hiding and showing layers Dimming placed EPS images Choosing a selection color for layers Displaying layers in Artwork view Making selected layers nonprintable...
Page 394 About layers The Layers palette lets you create multi- ple levels of artwork on separate, over- lapping layers in the same document. You can create and modify objects on any layer without affecting artwork on other layers. You can display, print, lock, and reorder layers as distinct units.
Page 395 Using the Layers palette Use the Layers palette to create layers and set their options, and to set how layers are displayed and printed. All new artwork is placed on the layer selected in the Layers palette. See also • Creating layers and setting layer options •...
Page 396 The Layers palette lists the layers in a document, starting with the frontmost layer. A colored dot to the right of a layer name in the palette indicates that a selected object is on that layer. jump to art...
Page 397 The Layers palette t he A Discussion on Euclid’s Geometry William Baeck The Layers Palette ELEMENTS A Discussion on Euclid’s Geometry William Baeck Text Line Art Background return to text...
Page 398 Creating layers and setting layer options Every new Adobe Illustrator document contains one layer, named by default “Layer 1.” You can create any number of layers in your document; the number of layers a document can have is limited only by your computer’s memory.
Page 399 • Select a color from the Selection Color pop-up menu to indicate selected objects in that layer. • Select or deselect the Show option to display or hide the. layer • Select or deselect the Print option to make the layer printable or non- printable.
Page 400 Drawing objects on layers Any new object created in a document is placed on the layer selected in the Layers palette. To select a layer on which to work: Click the name of the layer you want on the Layers palette.
Page 401 Moving objects between layers You can move objects from one layer to another by cutting objects from one Layer and pasting them into another, or by using the Layers palette; you can also reorder the layers in your artwork. The Paste commands can be used to move objects between layers.
Page 402 To move an object to a different layer using the Paste commands: Make sure that the Paste Remember Layers option in the General Preferences dialog box is deselected. Select the object that you want to move, and choose Edit Cut. Select any object on the layer to which you want to move the cut object, or select the layer name in the Layers...
Page 403 • Choose Edit Paste in Back to paste the object into its original position in the artwork, behind the backmost selected object. If the selected object is in a group, the pasted selection becomes part of the group. Once the object is pasted, you can move it and use the commands in the Arrange menu to change the stacking order of the object on its new layer.
Page 404 Drag the colored dot to the layer to which you want to move the object. Blue dot on palette moved from Layer 2 to Layer 3 Result...
Page 405 Changing the order of layers By rearranging the layers on the Layers palette, you can change the order of layers in your document. To change the order of layers: In the Layers palette, drag the layer you want to move to its new location. Layer 2 moved to top of Layers palette...
Page 406 Result...
Page 407 Deleting layers You can remove a layer from your document by removing it from the Layers palette. Deleting a layer deletes all objects on that layer from your document. Tip: Before deleting a layer, hide all the other layers ﬁrst. This lets you check what’s on the remaining layer.
Page 408 Locking layers Locking a layer has an effect similar to that of choosing the Lock command from the Arrange menu—locked layers cannot be selected or edited in any way. To lock or unlock a layer: Click the dot beneath the pencil icon to the left of the layer name.
Page 409 To lock all layers but those selected in the palette: Select the layer or layers you want to edit. Choose one of two options: • Choose Lock Others from the Layers palette pop-up menu. • Click the pencil icon. ELEMENTS A Discussion on Euclid’s Geometry Dot under pencil icon indicates art can be edited.
Page 410 ELEMENTS A Discussion on Euclid’s Geometry No dot under pencil icon indicates art cannot be edited. To unlock all layers: Choose Unlock All from the Layers palette pop-up menu.
Page 411 Hiding and showing layers Hiding a layer has an effect similar to that of choosing Hide from the Arrange menu. Hidden layers cannot be viewed or edited. To hide or display a layer: Click the dot beneath the eye icon to the left of the layer name.
Page 412 ELEMENTS A Discussion on Euclid’s Geometry Hollow dot under eye layer art in Preview view. ELEMENTS A Discussion on Euclid’s Geometry Empty eye column and pencil with red slash: Layer is uneditable.
Page 413 To hide all layers but those selected in the palette: Select the layer or layers you want to view. Choose one of two options: • Choose Hide Others from the Layers palette pop-up menu. • Click the eye icon. To display all layers: Choose Show All from the Layers palette pop-up menu.
Page 414 Dimming placed EPS images The Dim Placed Images option in the Layer Options dialog box makes placed EPS images on a given layer appear dimmed on-screen. This option screens back placed images to make it easier to edit objects on top of the placed image. You can use this option as a design tool with placed images, for laying out art- work on top of them, or using them as...
Page 415 Choosing a selection color for layers Selecting a different color for each layer makes it easy to distinguish layers in your artwork as you work. By default, selecting an object highlights the object with a light blue outline and anchor points.
Page 416 Displaying layers in Artwork view Displaying a layer in Artwork view displays all artwork on the layer as outlines, and is similar to switching to Artwork view. See Viewing modes more information. To display a layer in Artwork view: Choose one of two options: •...
Page 417 Making selected layers nonprintable You can use the Print option in the Layer Options dialog box to make a layer tem- porarily nonprintable. This option is useful for printing only the segments of your artwork that you need to proof. For example, you could put all type in a document onto a single layer and then print only that layer for prooﬁng.
Page 418: Using Type
Using Type Creating type Setting type attributes Using keyboard shortcuts to change type attributes Painting type Transforming type Modifying letterforms as graphic objects Working with columns of text Formatting columns and paragraphs Editing text...
Page 419 Creating type Using the type tools, you can create type anywhere in a document. You can create type by: • Entering type at a point • Entering type in a rectangle • Entering type in an object • Entering type along a path •...
Page 420 Entering type at a point You can use the type tool to enter type anywhere in the Illustrator work area, without ﬁrst deﬁning a bounding area for the type. Entering type this way, for example, would be a good way to type in a caption for an illustration.
Page 421 Enter the type you want. Press Return to begin a new line of type. The default font is 12-point Helvetica. To change the font, see Setting type attributes.
Page 422 Selecting type The type tool’s I-beam pointer lets you select individual characters, words, and paragraphs, and change the type’s attributes. To select all of the type on a path or in a type container, use the selection tool on the path or type con- tainer, as described in Selecting objects.
Page 423 Type overview Illustrator lets you use type in various ways, including customizing type for use as display type for titles or headlines, manipulating type as graphic objects, ﬂowing type along and within a path, and wrapping type in columns of body text. Click on any callout to jump to information on that topic.
Page 424 To select blocks of type: Select any type tool. Choose any of the following options: • Drag to select the type you want to change. (Shift-drag to extend or reduce your selection.) • Position the I-beam pointer in a paragraph, and triple-click to select the entire paragraph.
Page 425 • Click the type with a type tool, and then choose Edit Select All to select all the type on the type path or in the type container. In the heart of In the heart of the the large island of the large island of Niphon and in a Niphon and in a...
Page 426 Entering type in a rectangle You can use the type tool to deﬁne a text rectangle into which you enter type. This method is useful when you want to create one or more columns of text, such as for a brochure. You can also cre- ate a rectangle with the rectangle tool, and then use the type tool to convert it to a text rectangle.
Page 427 To create a text rectangle using the type tool: Select the type tool. The pointer changes to an I-beam within a dotted box. Drag diagonally to deﬁne the text rectangle. When you release the mouse button, the pointer reverts to an I-beam. (In Artwork view, a rectangle appears with an in sertion point at the top left corner of the text rectangle.)
Page 428 If you enter more type than can ﬁt within the rectangle, a small box con- taining a plus sign appears near the bot- tom of the rectangle when in Artwork view or the text rectangle or type is selected. The plus sign is positioned at the end of the baseline of the last visible line of type.
Page 429 Changing the size or shape of a text rectangle You use the direct-selection tool to adjust a text rectangle. To change the size or shape of a text rectangle: Select the direct-selection tool. If the type is selected, click outside the rectangle to deselect it.
Page 430 Note: It’s easiest to adjust a text rectangle in Artwork view. In the In the heart of the heart of large island of the large Niphon and in a island of mountainous and Niphon wooded region, and in a ﬁfty leagues from moun- Yokohama, lies tainous...
Page 431 Entering type in an object You can use any object as an area within which to enter type. If the object is an open path, the program draws an imag- inary line between the endpoints of the path to deﬁne the object for the type, just as it does to paint open paths.
Page 432 Type tool Area-type Path-type tool tool Moving type tool over ﬁlled objects and paths To enter type in an object: Select the type tool or the area-type tool (if the object is a ﬁlled open path). Position the pointer on the path, and click the mouse button.
Page 433 Resting on the descend- ing edge of the Holy Mountain Nikko, below the shelter of dense forest, in the midst of Clicking ﬁlled changes object into object with area- text container and type tool . . . enables you to enter text.
Page 434 Entering type along a path You can enter type that ﬂows along the edge of an open or a closed path. The path can be regularly or irregularly shaped. When you enter type along a path, the path is no longer stroked or ﬁlled.
Page 435 To enter type along a path: Select the type tool or the path-type tool. Position the pointer on the path, and click the mouse button. An insertion point appears on the path. Enter the type you want. Type appears along the path. Set the insertion Then enter type.
Page 436 Moving type along a path You use the selection tool to move type along a path. To move type along a path: Use the selection tool to select the type path if it is not already selected. Position the pointer on the I-beam at the beginning of the line of type.
Page 437 Flipping the direction of type along a path You use the selection tool to ﬂip the direction of type along a path. To flip the direction of the type along a path: Select the selection tool. Position the pointer on the I-beam. Choose one of the following options: •...
Page 438 To move type across a path without changing the direction of the type, use Baseline Shift option in the Charac- ter palette. For example, if you have created type that runs from left to right across the top of a circle, you can enter a negative number in the Baseline Shift text box to drop the type so that it ﬂows inside the top of the circle.
Page 439 Deleting empty type paths from artwork The Delete Empty Text Paths option in the Cleanup dialog box lets you delete unused type paths and containers from your artwork, thus making your artwork more efﬁcient and easier to print. You can create empty type paths, for exam- ple, by inadvertently clicking the type tool in the artwork area, and then choos- ing another tool.
Page 440 Setting type attributes You can either set type attributes before you enter new type or reset them to change the appearance of existing, selected type. You can set attributes for several type paths and type containers if they are all selected. •...
Page 441 In addition, some attributes can be changed using keyboard shortcuts. See Using keyboard shortcuts to change type attributes. For a complete list of shortcuts, see the Adobe Illustrator Quick Reference Card. You can use various shortcuts to enter values in the Character and Paragraph palettes.
Page 442 For example, the font used in this paragraph is Minion. The default font family in the Adobe Illustrator pro- gram is Helvetica. You can choose a font from the Font pop-up menu or from the Character palette.
Page 443 Choose one of two options: • In the Font text box, type the name of the font family you want to use. As you type, the name of the ﬁrst font begin- ning with that letter appears. Continue entering the font name until the correct font name appears.
Page 444 Choosing a type size You can choose the type size in the Character palette, from the Size sub- menu in the Type menu, or by using key- board commands. The default type size is 12 points. Type size is always mea- sured in points.
Page 445 Choose a new type size from the Size pop-up menu. You can also enter a num- ber by typing the size in the Size text box and pressing the Enter key or Tab key. The new size is applied. To choose a type size from the Type menu: Select any type container or type path using a selection tool, or set an insertion...
Page 446 Finding and replacing fonts The Find Font command creates a list of all the fonts in your document and lets you search for and replace them (includ- ing the font’s type style, color, and kern- ing) by name. This command also lets you save the list of fonts as a separate ﬁle, which can be useful for a service bureau that is printing the ﬁle.
Page 447 • Select the Document List option to limit the fonts you can use as replace- ments to those already in your docu- ment. Select a font name from the Find Fonts in Document list. Illustrator selects the next instance of that font in your document.
Page 448 When there are no more instances of a font in your document, that font name is removed from the list of fonts to ﬁnd. To save a list of all fonts found in the document, click Save, and then enter a ﬁlename and location for the font list ﬁle.
Page 449 Specifying leading Leading speciﬁes the amount of vertical space between baselines. Leading is always measured in points. If a line of type contains characters with different leading values, the line’s leading is set to the greater of the two values. In the heart of the large In the heart of the large island of Niphon and in...
Page 450 To change the leading value using the Character palette: Select any type container or type path using a selection tool, or select a block of type using the type tool. Choose Type > Character. Enter a value in the Leading text box, or choose a value from the pop-up menu.
Page 451 To specify leading before a paragraph: Choose one of two options: • To apply leading to a single paragraph in text, click the type tool anywhere in the paragraph. • To apply leading to all paragraphs in a type container, use the selection tool to select the entire type container.
Page 452 Specifying kerning and tracking Kerning controls the spacing between two characters. You can control kerning manually; or you can turn on the kern- ing built into a font by the font designer. Spacing characters with auto-kern- for more on using a font’s built-in kerning.
Page 453 Positive kerning or tracking values move characters apart; negative kerning or tracking values move characters closer together. Kerning and tracking values are measured in units that are 1/1000 of an em space. The width of an em space is relative to the current type size.
Page 454 At the door of the 0/1000 em A t t h e d o o r o f t h e 200/1000 em Tracking values To change the kerning or tracking value: Select any type container or type path using a selection tool, or set an insertion point or select a block of type using the type tool.
Page 455 • Press Command+Option+Left Arrow to move characters closer together or Command+Option+Right Arrow to move characters farther apart by ﬁve times the Tracking value set in the General Preferences dialog box. • Choose Type > Tracking or Type > Character, enter a positive or a negative value in the Tracking/Kerning text box, and press the Enter key or Tab key.
Page 456 Spacing characters with auto-kerning To use a font’s kerning information to space characters better, you can select the Auto- Kerning option in the General Preferences dialog box or in the Charac- ter palette. Many fonts contain informa- tion about the spacing of character pairs;...
Page 457 See also Specifying kerning and tracking. To apply auto-kerning to existing type in a file: Choose Edit > Select All. Select the Auto-Kerning option in the Character palette. Deselect the type; deselect the option.
Page 458 Specifying baseline shift Baseline shift controls the distance that type appears from its baseline, either raising or lowering the selected type. The Baseline Shift option lets you create subscripts or superscripts, or move path type above or below a path without changing the direction of the type ﬂow.
Page 459 To specify baseline shift: Select a type container or type path using a selection tool, or select a block of type using the type tool. Choose one of the following options: • Press Option+Shift+Up Arrow to increase the baseline shift or Option+ Shift+Down Arrow to decrease the baseline shift.
Page 460 Adjusting horizontal scale Horizontal scale speciﬁes the propor- tion between the height and width of the type. Unscaled characters have a value of 100%. You can adjust the hori- zontal scale to compress or expand selected characters. These adjustments have no effect on the characters’ height. If you have scaled characters nonuni- formly using a transformation tool, the characters’...
Page 461 DOOR OF THE PALACE DOOR OF THE PALACE 100% DOOR OF T 200% Horizontal scale values To adjust the horizontal scale of type: Select any type container or type path using a selection tool, or select a range of text using the type tool.
Page 462 Using keyboard shortcuts to change type attributes You can use keyboard shortcuts to change the type point size, change lead- ing values, adjust spacing, and change paragraph alignment. To change the type point size from the keyboard: Choose one of the following options: •...
Page 463 To change the leading value from the keyboard: Select any type container or type path using a selection tool, or select a block of type using the type tool. Choose one of the following options: • Press Option+Up Arrow to decrease the leading.
Page 464 Adjusting spacing using the keyboard The Keyboard Increments options of the General Preferences dialog box let you set the increments in which baseline shift and kerning/tracking values increase or decrease when you use keyboard shortcuts. The default key increment values are 2 points for size/leading, 2 points for baseline shift, and 20/1000 of an em space for kern- ing/tracking.
Page 465 • Option+Command+Right Arrow increases the kerning/tracking ﬁve times. • Option+Command+Left Arrow decreases the kerning/tracking ﬁve times. • Option+Shift+Up Arrow increases the baseline shift. • Option+Shift+Down Arrow decreases the baseline shift. The type units preference determines the units for point size, leading, kern- ing, tracking, and baseline shift.
Page 466 Painting type You can paint type, the type container, or the type path. You may want to paint the container to create a background for your type, or paint the type path as a visual base for the type. To paint type, a type container, or a type path: Choose one of the following options: •...
Page 467 You can also transform individual type containers within linked type containers. For more examples of transformed type, see the Adobe Illustrator Tutorial and Beyond the Basics. To transform type including its path: Choose one of two options: •...
Page 468 Note: To transform a type path or type container without transforming type, use the group-selection tool to select just the path. Verify the baselines don’t appear, indicating type is deselected. Select the rotate scale shear tool transform the type container and its path.
Page 469 Modifying letterforms as graphic objects The Create Outlines command lets you turn type into a set of compound paths that you can edit and manipulate as you would any other graphic object. To use the Create Outlines command with a given typeface, you must have the Type 1 or TrueType font outlines for that type- face installed on your system.
Page 470 Editing type Painting type outlines outlines Tip: If you select type outlines and choose Object > Compound Paths > Release, you can use the outlines as type areas. To convert type to path outlines: Using a selection tool, select the type you want to convert.
Page 471 To use several outlined letters as a mask: Select all of the letters. Choose Object > Compound Paths > Make. Make a mask as described in Working with masks.
Page 472 Working with columns of text Illustrator provides several commands that make it easy to create and work with columns, or blocks, of type. • Importing text ﬁles • Exporting text ﬁles • Displaying overﬂow text • Linking type containers • Creating rows and columns •...
Page 473 Importing text files You can import text ﬁles into the Adobe Illustrator program from other applica- tions. Once you have created an inser- tion point with any of the type tools, use Place command to import type. Illustrator uses the Claris® XTND docu-...
Page 474 Select the text document you want to open, and click Place. The text from the document you selected ﬂows into the type container. Most of the styles you used in typing the original document are retained. If the original text is word-wrapped and you import it as a point-type object, each paragraph appears on a single line.
Page 475 Claris XTND utility installed to use the Export command. (This utility as installed if you used the Easy Install option when copying the Adobe Illustra- tor program onto your hard disk drive.) File formats supported in Adobe Illustrator Exporting artwork more information.
Page 476 Displaying overflow text If your type container is too small, you won’t be able to see all of the text within it. You can adjust the type container so that all of the text is visible. To display all text: Choose one of the following options: •...
Page 477 Linking type containers You can link type containers that have been created with the type tool or the area-type tool. When you link type con- tainers, type ﬂows from one object to another based on the type container’s stacking order. Type ﬂows ﬁrst into the backmost object in the stacking order and continues to the next object in the stacking order.
Page 478 In the heart of Niphon in cades whose roar called a mountainous and wooded them into existence, among region, ﬁfty leagues from the ferns and mosses and Yokohama, is hidden the green dampness, over- ancient city of the dead— arched by dark branches the necropolis of Japanese and bordered by the wild- Emperors.
Page 479 Changing the type flow You can change the order in which type ﬂows by changing the stacking order of type containers using the Send to Front and Send to Back commands. You can adjust the stacking order before or after linking type.
Page 480 Copying a linked type container If you run out of room for type in a con- tainer, you can create a copy of the con- tainer for overﬂow type. See also Unlinking and removing type containers. To create a linked copy of a type container: If you are not already in Artwork view, choose View >...
Page 481 The type ﬂows from the ﬁrst type container to the second, and the two type containers are linked. In the heart of Niphon in a mountainous and wooded region, ﬁfty leagues from Yokohama, is hidden the ancient city of the dead— the necropolis of Japanese Emperors.
Page 482 Unlinking and removing type containers You can unlink type containers to change their Stacking order without affecting the ﬂow of type. However, to return the type to its original object, you must cut and paste the type. To delete a single or unlinked type container with- out deleting the type within it, copy and paste the text elsewhere, and then...
Page 483 Click Delete. The type container you selected disappears, and the type that it contained ﬂows into the next grouped or linked object in the stacking order. To add a new type container, create or select the type container; then hold down the Shift key and use the group- selection tool...
Page 484 Creating rows and columns The Rows & Columns dialog box lets you divide rectangles and text blocks into blocks of rows and columns and precisely change the height, width, and gutter size between rows and columns. You can also use the Rows & Columns dialog box to change the way in which text ﬂows (from left to right or up and down) by clicking the Text Flow icon.
Page 485 To divide a rectangular graphic object or type container into rows and columns: Using the selection tool select a rect- angle or type container. Note: If the object is not rectangular, it will be converted into rows and columns based on the object’s rectangular bounding box.
Page 486 Choose any of the following options: • To change the direction of the text ﬂow from left to right or from top to bottom, click the Text Flow icon. • To preview the effect, select the Preview option. • To add path guides along the row and column edges, select the Add Guides option.
Page 487 Wrapping type around a graphic object You can make type wrap around any graphic object, including type paths and compound paths, by using the Make Wrap command. You must use area type when wrapping type around a path; point type and path type do not wrap around an object.
Page 488 Note: If you are importing an Adobe Photoshop image, you can import the clipping path along with it to serve as the graphic boundary for the image.
Page 489 In the heart of the large island of Niphon in a mountainous area, ﬁfty leagues from Yokohama, is is hidden the ancient city of the dead the necropolis of Japanese Emperors. Resting on the de- scending edge of the Holy Moun- tain of Nikko, under a cover of dense forest and in Make Wrap command applied To separate a wrapped type container...
Page 490 Greeking type below a specified font size Adobe Illustrator greeks—displays as a dimmed bar—type below a speciﬁed type size, as set in the Greek Type Limit text box in the General Preferences dia- box. Any type at or below the spec- iﬁed type size is replaced on-screen...
Page 491 Formatting columns and paragraphs Various Illustrator functions are espe- cially useful for working with larger groups of type, such as type laid out within columns. • Specifying paragraph indentation • Specifying alignment options • Specifying hanging punctuation • Specifying spacing options •...
Page 492 Specifying paragraph indentation Indentation speciﬁes the amount of space between the ends of each line of type and the path that contains that type. You can indent from the left or the right side of the path, and you can choose additional indentation for the ﬁrst line of a paragraph.
Page 493 Indentation affects only the selected paragraph or paragraphs. In the heart of the large In the heart of island of Niphon and the large island of in a mountainous and Niphon and in a wooded region, ﬁfty mountainous and leagues from Yoko- wooded region, hama, lies hidden the ﬁfty leagues from...
Page 494 To specify paragraph indentation: Select any type container or type path using a selection tool, or set an insertion point or select a block of type using the type tool. Choose Type > Paragraph. Select the indentation text box you want to change (right, left, or ﬁrst line), and enter an indentation value.
Page 495 Specifying alignment options Alignment controls how lines of type are arranged in paragraphs. Each paragraph (or line in point type) can have any of these alignment options: • Left alignment, the default option, aligns type on the left margin, with a ragged right edge.
Page 496 In the heart of the island of Niphon and in a mountainous region, ﬁfty leagues from Yokohama, lies the ancient city of the dead— the necropolis of Japanese Emperors. In the heart of the island of Niphon and in a mountainous region, ﬁfty...
Page 497 In the heart of the island of Niphon and in a mountainous region, ﬁfty leagues from Yokohama, lies the ancient city of the dead— the necropolis of Japanese Emperors. Center alignment To change alignment options from the Paragraph palette: Select any type container or type path using a selection tool, or set an insertion point or select a block of type using the type...
Page 498 Specifying hanging punctuation Hanging punctuation controls whether punctuation marks fall inside or outside the margins. If hanging punctuation is turned on, the following characters appear outside the margins: periods, commas, single-quotation marks, dou- ble-quotation marks, apostrophes, hyphens, em dashes, en dashes, colons, and semicolons.
Page 499 To select hanging punctuation: Select any type container or type path using a selection tool, or set an insertion point or select a block of type using the type tool. Choose Type > Paragraph. Select the Hanging Punctuation option.
Page 500 Specifying spacing options Spacing options include options for con- trolling the word spacing and letterspa- cing in lines of justiﬁed or unjustiﬁed type. Spacing options are always applied to an entire paragraph. To adjust the spac- ing in only a few characters, use the Tracking option;...
Page 501 Choose one or both of the following options: • To change the amount of space between words in a line of type, enter a minimum, desired, and maximum value in the Word Spacing text boxes. (With unjustiﬁed text, only the Desired option is available.) For justiﬁed text, the default values for word spacing are 100% minimum, 100% desired, and...
Page 502 Both word spacing and letterspacing are measured as percentages of the width of a space in the selected type size. In the heart of the large island of Niphon and in a mountainous and wooded region, ﬁfty leagues from Yokohama, lies hidden the ancient city of the dead—the necropolis of Japanese Emperors.
Page 503 Using the Tab Ruler palette The Tab Ruler palette lets you quickly set left, right, center, and decimal-point tabs in type. When setting tabs, a visual tab guide appears in the selected type to help you set tabs, even if the type path is rotated or wrapped.
Page 504 • Drag the Extend Tab Ruler button at the lower right of the palette to extend the ruler. • Select the Snap option to snap tabs to ruler units as you drag them. You can also hold down the Control key as you drag tabs to turn the Snap option on or off temporarily.
Page 505 • Center-Justiﬁed Tab. Centers text on the tab mark. • Right-Justiﬁed Tab. Justiﬁes text to the right, keeping the left margin ragged. • Decimal-Justiﬁed Tab. Justiﬁes text in alignment with a decimal point (useful for creating columns of numbers). Choose any of the following options: •...
Page 506 Tab Ruler palette Snap option Tab position Extend tab Decimal tab ruler button Right tab Center tab Left tab return to text...
Page 507 Fitting headline type Adobe Illustrator lets you ﬁt type across the full width of a type path in an object by using the Fit Headline command. The Fit Headline command works with Adobe multiple master fonts by adjust- ing the weight of the font and the track- ing value when distributing type along a path.
Page 508 To fit headline type across a specified area: Enter type in a type container using type tool area-type tool. Select the type using any type tool. Choose Type > Fit Headline.
Page 509: Hyphenating Words
You can also limit the number of consecutive hyphenated lines. You can enter a discretionary hyphen to hyphenate a word manually. Adobe Illustrator always breaks a word at a dis- cretionary hyphen, regardless of the autohyphenation setting.
Page 510 To enter a discretionary hyphen: Select a type tool and click where you want to enter the hyphen. Press Command+Shift+hyphen. To set the auto hyphenate feature: Choose Type > Paragraph. Select the Auto Hyphenate option. If the Hyphenation options are not visible, click the display control in the Para- graph palette.
Page 511 Illustrator to hyphenate and deﬁnes which language dictionary is used. To specify how a word may be hyphenated in Adobe Illustrator: Choose File > Preferences > Hyphen- ation Options. If desired, choose the language in which the hyphenation rules apply from the Languages pop-up menu.
Page 512 If you enter the word with no hyphens, Adobe Illustrator never hyphenates the word. If you enter the word with one or more hyphens inserted, Adobe Illus- trator hyphenates the word only at those places. Click Add.
Page 513 Specifying the hyphenation language The Language option controls the dictionary used to apply hyphenation rules to the selected text. Various languages, such as U.S. English, U.K. English, French, German, and Italian, are available. To specify the hyphenation language: Choose Type > Character. Choose a language from the Language pop-up menu.
Page 514 Editing text You can use the standard word-process- ing methods to edit selected text. To edit text: Select the text that you want to edit. You can choose Edit > Select All to select all the text along or within the path. Choose any of the following options: •...
Page 515 Choose Type > Check Spelling. The Check Spelling dialog box displays a list of words not found in the current Adobe Illustrator dictionary. To list separately words that are mis- spelled in the same way but are in differ- ent cases (such as Mispell and mispell), select the Case Sensitive option.
Page 516 To get a list of alternative spellings for a misspelled word, click the word in the Misspelled Words list. The ﬁrst instance of that word is highlighted in your document, and any alternative spellings appear in the Suggested Corrections list. Choose one of three options: •...
Page 517 To change language dictionaries in the Spell Checking filter: Choose Type > Check Spelling. Click Language. Locate the language dictionary in the Plug-ins folder inside the Adobe Illustrator 6.0 folder. Select the language dictionary you want to use, and click Open.
Page 518 Finding and replacing text The Find command ﬁnds and replaces text strings on paths and within type containers while retaining the type style, color, kerning, and other type attributes of the text. To find and replace text: Choose Type > Find. Enter the text string you want to ﬁnd and, if desired, the text string with which you want to replace it.
Page 519 • Select the Wrap Around option to search the entire document, starting from the text selection point to the end of the document, and then from the beginning of the document to the text selection point. Choose one of the following options: •...
Page 520 Changing capitalization The Change Case command enables you to change text from the current case set- ting to all uppercase, all lowercase, or mixed case (that is, each word begin- ning with an uppercase letter). city on the edge City On The Edge CITY ON THE EDGE Lowercase, mixed case, and uppercase text To change the capitalization of...
Page 521 (that is, a text symbol that combines two or more letters into a single, special character). To change to the and ligatures, you must have the appropriate Adobe Expert font installed on your system.
Page 522 • V, X, Z Ligatures. Changes any occur- rence of the ff, ﬂ, or fﬂ letter combina- tions into ligatures. To change to the ligatures, you must have the appropriate Adobe Expert font installed on your system. fi ffi fl ffl ﬁ fﬁ ﬂ fﬂ...
Page 523 • Expert Fractions. Replaces separate characters used to represent fractions with their single-character equivalents. To change to expert fractions, you must have the appropriate Adobe Expert font installed on your system. Expert fractions before and after Choose one of two options: •...
Page 524 Click the Report Results option to see a list of the number of symbols replaced. Click OK to search for and replace selected characters.
Page 525: Using Graphs
Using Graphs About graphs Creating a graph Adjusting graphs Selecting graph options Changing graph styles Combining different graph styles Customizing a graph Selecting parts of a graph About graph designs Creating a graph design Applying graph designs to a graph...
Page 526 About graphs Adobe Illustrator’s graph tools let you create six different graph styles: • Grouped column. The default graph style compares one item to another or compares different items over a period of time. • Stacked column. This graph compares...
Page 527 • Scatter. This graph plots 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 vari- ables affect one another. Grouped column Stacked column Line...
Page 528 Area Scatter...
Page 529 Creating a graph You can create a graph by dragging with the graph tool or by specifying dimen- sions in the Graph dialog box. To create a graph: Double-click the graph tool choose Object Graphs Style. Select the type of graph you want. Select options for the selected graph style, as described in Selecting graph...
Page 530 • Click the graph tool in the artwork where you want to create the graph, and then specify the dimensions for the graph in the Graph dialog box. By default, the Graph dialog box displays the dimensions of the most recently drawn rectangle, oval, or graph.
Page 531 Entering and editing graph data You can enter data in a graph by: • Typing it into the Graph Data dialog • Importing data from another application • Copying and pasting data from other applications or from another graph. See also •...
Page 532 To enter data manually: Create a new graph using the proce- dure described in Creating a graph. Make sure that the graph is selected. If the Graph Data dialog box is not already open, choose Object Graphs Data. Entry line Column Cell At the top of the worksheet is the entry...
Page 533 Labels are words or numbers that describe two things: categories, whose data is entered in rows; and legends, whose data is entered in columns. In the ﬁnal graph, legends appear as boxes that you can place above or to the right of a graph.
Page 534 Usually, you enter a label in at least the ﬁrst row and the ﬁrst column of the worksheet. Follow these guidelines: • To create category labels for the hori- zontal (x) axis, enter the labels in the ﬁrst column (except for scatter graphs, which do not use categories).
Page 535 • To create line breaks in legends or labels, use the vertical bar key to separate lines. For example, enter Total|subscriptions|1996 to produce the following graph label: Total subscriptions 1996 The letters or numbers that you type appear simultaneously in the entry line and in the cell.
Page 536 To correct a mistake or change how data is entered in the Graph Data dialog box, choose one of these options: • If you accidentally enter graph data backward, (in rows instead of columns, or vice versa), switch the columns and rows of data by clicking Transpose.
Page 537 Entering labels and data for particular graph styles Labels can be words that describe col- umns of data, or they can be years, months, or days for comparing data over time. Follow these additional guidelines for entering data for the selected graph style: •...
Page 538 • For line graphs, enter numbers repre- senting quantities along the y axis; enter numbers representing time along the x axis. Each column of data corre- sponds to one line in the line graph. You can combine positive and negative values in a line graph.
Page 539 • For scatter graphs, enter one column of data each along the y axis and the x axis. A scatter graph differs from the other kinds of graphs, because both axes measure values; there are no cate- gories. If the ﬁrst column contains labels, it is ignored, and the second column produces values for the y coordinates.
Page 540 If you ﬁrst save data ﬁles as text in other applications, you can import the data ﬁles into Adobe Illustrator. In the text ﬁles, each cell must be separated by a tab, and each row must be separated by a carriage return.
Page 541 If the Graph Data dialog box is not already open, choose Object Graphs Data. Click to select the cell that will be the top left cell of the data that you import. Click Import. Open the ﬁle that you want to import. The data is imported and entered into the worksheet in the Graph Data dialog box.
Page 542 Edit Copy to copy the data to the Clipboard. Open the Adobe Illustrator program. Create a new graph. Make sure that the graph is selected. If the Graph Data dialog box is...
Page 543 Editing existing data You can edit data you have entered in the Graph Data dialog box. The Cut and Copy commands move data to the Clip- board; the Paste command moves data from the Clipboard into a worksheet. The Clear command erases the entire selection, either within the text or as a set of cells.
Page 544 • Use the Cut, Copy, Paste, or Clear command in the Edit menu to edit the data. You can cut and paste any cell or group of cells to another selected cell or group of cells. Click OK.
Page 545 Adjusting graphs You can adjust graphs using the Graph Data dialog box by: • Transposing rows and columns of data • Transposing the x and y axes in scatter graphs • Adjusting cell column width • Adjusting decimal precision...
Page 546 Transposing rows and columns of data If you accidentally enter graph data backward (that is, in rows instead of col- umns, or vice versa), you can use the Transpose command to switch the col- umns and rows of data. The Transpose command reverses the categories and legends and reenters all the data accord- ingly.
Page 547 Click Transpose. Labels and data that were listed across the top row are now listed along the left column. "1980" "1990" "1980" 45.00 66.00 45.00 66.00 "1990" 62.00 72.00 62.00 72.00 1980 1990 1980 1990 Default column Data transposed graph...
Page 548 Transposing the x and y axes in scatter graphs You can reverse the x and y axes to display data better on scatter graphs using the Switch XY option. This option is available only for scatter graphs because only scatter graphs plot values on both axes.
Page 549 Adjusting cell column width In the Graph Data dialog box, the default cell column width is seven dig- its. The actual width varies according to the selected typeface. You can change the default column width by dragging the column boundary to make one col- umn wider or narrower, or by entering a new value in the Cell Style dialog box.
Page 550 To reset the column width, you must drag the column width again; you can- not use the Cell Style dialog box. If you change the column width to zero, the column reverts to the column width set in the Cell Style dialog box. To change the width of columns you have not previously changed manually: Click Cell Style in the Graph Data...
Page 551 Adjusting decimal precision You can deﬁne the number of decimals in which you want numbers displayed by using the Number of Decimals text box in the Cell Style dialog box. The default is 2. This means that if you enter the number 4, it appears in the Graph Data dialog box as 4.00;...
Page 552 Selecting graph options Depending on the graph style chosen, additional options are available (with the exception of area graphs). To select graph style options: If you want to change an existing graph, select the entire graph. Choose Object Graphs Style, or double-click the graph tool.
Page 553 • Adding a drop shadow to a graph • Displaying legends across the top of a graph • Displaying overlapping columns of data...
Page 554 Selecting grouped column and stacked column options Grouped column and stacked column graph options are the same. They include • Column Width. By default, the column width is 90%. • Cluster Width. A cluster is a group of columns corresponding to a row of data in the work sheet.
Page 555 Column Cluster 1980 1990 1980 1990 Column and Stacked column cluster widths graph...
Page 556 Selecting line graph options There are four graph style options for line graphs: • The Mark Data Points option places square markers at each data point. • The Connect Data Points option draws lines that connect the data points and makes it easier to see relationships between data.
Page 557 • The Edge-to-Edge Lines option draws lines that extend across the graph, from left to right along the horizontal (x) axis. 25 50 75 100 Line graph...
Page 558 Selecting pie graph options Three graph style options let you choose how to display legends with pie graphs: • The Standard Legends option places column labels outside the graph; this option is the default. When you combine pie graphs with other kinds of graphs, select the Standard Legends option.
Page 559 Percentages and legends are painted black by default. If a pie wedge with a dark background obscures a legend, repaint the dark background. Use the group-selection tool to select the dark pie wedges, and paint the wedge using the Paint Style palette. See also Displaying legends across the top of a...
Page 560 Selecting scatter graph options Selecting scatter graph options is the same as for selecting line graph options, except that the Edge-to-Edge option is not available. The default options for scatter graphs are Mark Data Points and Connect Data Points. Scatter graph...
Page 561 Specifying the axis position You can specify whether to display the vertical (y) axis on the left side, the right side, or both sides of the graph. The default is Use Left Axis. You must select the entire graph to use the Same Axis Both Sides option.
Page 562 1980 1990 1980 1990 Graph with left axis Graph with same axis both sides...
Page 563 Setting axis tick mark and label options You can add tick marks to show units of measurement and to better delineate data series in a graph, and you can add information to labels including units of measurement such as “$.” 1980 1990 Tick marks with labels...
Page 564 There are three options to set horizontal (y-axis) tick marks, and there is one option to set vertical (x-axis) tick marks, as described in the following procedures. Combining different graph styles more information on changing axis attributes when a graph has more than one graph type.
Page 565 You can use this option, for example, to display very large numbers for the tick marks. Changing the y axes individually also lets you specify different options for the x and y axes or for the right and left y axes when you combine different graph types.
Page 566 • To add horizontal tick marks to the graph, click either Short Tick Lines or Full Width Tick Lines to extend tick lines across the graph. • If desired, enter a value in the Draw Tick Marks Per Tick Line to specify how many tick lines to draw.
Page 567 • Enter a value in the Draw Tick Marks Per Tick Line text box to specify how many tick lines to draw. Click OK, and then click OK again. 1980 1990 Vertical tick lines added to graph...
Page 568 Adding a drop shadow to a graph You can add drop shadows to give a graph a three-dimensional effect. This option may not be appropriate for some graph styles, such as a line or scatter graph. 1980 1990 Drop shadows To add a drop shadow: In the Graph Style dialog box, select the Drop Shadow option.
Page 569 Displaying legends across the top of a graph By default, legends are displayed to the right of the graph. You can choose to display them horizontally across the top of the graph. A B C 1980 1990 1980 1990 Default legends Legends across top To display legends across the top of a graph:...
Page 570 Displaying overlapping columns of data When using a graph such as a grouped column or area graph, you can control the order in which columns of data overlap. 1980 1990 First Column in Front option selected To specify the order in which columns overlap: Choose one of two options in the Graph Style dialog box:...
Page 571 • Select the First Column in Front option (the default) to place the ﬁrst column of data in the worksheet front- most in the graph. Always select this option for an area graph to prevent some areas from being hidden. Click OK.
Page 572 Changing graph styles Once you have created a graph, you can change to another graph style to illus- trate the data more effectively. To do so, you use the Graph Style dialog box. To change the graph style of an individ- ual series of data, you use the group- selection tool...
Page 573 In the Graph Type section of the Graph Style dialog box, select the type of graph you want. Click OK. Click to select the desired graph style (type). The options for the particular type of graph you have selected appear to the right of the graph type.
Page 574 Combining different graph styles You can combine any type graph with another, with the exception of scatter graphs. Scatter graphs cannot be com- bined with any other graph type. Retail price Price index per unit 250% Retail Wholesale 200% 150% 100% 1970 1980...
Page 575 If a graph uses more than one graph style, you can vary the graph style along the right and along the left axis so that each axis measures different data. Note: You must select the entire graph to set the axis style. If you combine a stacked column graph with other graph styles, be sure to use the same axis for all data series repre-...
Page 576 The graph designs con- tained in the startup ﬁle then appear in the graph design list in the Graph Design dialog box, and are available in every new Adobe Illustrator document you create. Creating a custom startup ﬁle.
Page 577 Customizing a graph You can customize a graph you have created by • Changing the colors of shading • Changing the typeface and type style • Moving, reﬂecting, shearing, rotating, or scaling any or all of the graph • Applying graph designs to a graph •...
Page 578 Selecting parts of a graph Graphs are created as grouped objects. You can select elements of a graph with the direct-selection and group-selection tools, and change the elements. How- ever, if you ungroup the elements of a graph, such as individual columns of data, you will be unable to change the graph’s style or modify the graph’s data.
Page 579 If you want to select some objects in a graph and send them to the back or front of other objects, it’s important that you send only objects that represent an entire data series or individual numbers. You can select individual columns, lines, pie wedges, or series, and move them to the front or back.
Page 580 To select an entire path in a graph: Select the group-selection tool. Position the pointer on the legend of the columns you want to select (for example, Group B), and click to select the legend. 1980 1990 1980 1990 First click selects Second click adds a legend.
Page 581 Each click adds another layer of grouped objects to the selection, beginning with the next group up in the hierarchy. You can click as many times as the number of groups to add to a selection. To deselect part of a selected group: Select either the direct-selection tool or the...
Page 582 You can also use the designs in the Gallery folder included with the Adobe Illustra- tor program. Graph designs are suitable for a grouped or stacked column graph, or for replac- ing markers in a line or scatter graph.
Page 583 • Creating a graph design • Importing graph designs from other documents • Applying graph designs to a graph • Reusing a graph design...
Page 584 Scaled graph designs A vertically scaled graph design is stretched or compressed vertically. Its width does not change. A uniformly scaled graph design is scaled both vertically and horizontally. The horizontal spacing of the designs is not adjusted for the different widths. 1980 1990 1980...
Page 585 Repeating graph designs A repeating design stacks a design to ﬁll the columns. When you choose the Repeating Design option in the Graph Column Design dialog box, you assign a value to each design in the Each Design Represents text box. You also choose whether to chop or scale designs that represent fractions.
Page 586 Sliding graph designs A sliding design is like a vertically scaled design except that you can specify where in the design to stretch or com- press it. For example, if you were using a pencil to represent data, you might stretch or compress only the wooden part of the pencil, but not the point and the eraser.
Page 587 Rotation on Rotation off To create a sliding graph design: Create a rectangle as the backmost object in the design. Create the design using one of the drawing tools, or place an existing design in front of the rectangle. Use the pen tool to draw a horizontal line to deﬁne where the design will be...
Page 588 Choose Object Guides Make. Use the selection tool to select the whole design. Choose Object Guides Lock to remove the check mark next to Lock so you can unlock the guides. Move the design around to make sure that the guide moves with the design.
Page 589 Creating a graph design Creating a graph design is similar to cre- ating a pattern. If you want to include column totals in the design, see Display- ing column totals with graph designs. When you create a new design or use a design in a document, the design is saved.
Page 590 Copying and pasting the column or marker ﬁrst makes the column or marker rectangle the backmost object in the design. If necessary, choose Arrange Send to Back to make the rectangle the backmost object in the design. Paint the rectangle as desired, or ﬁll and stroke it with None so that it is invisible.
Page 591 Only the portion of the design that ﬁts inside the backmost rectangle appears, but the whole design appears when used in the graph. Name the design, and click OK. Apply the design to a graph.
Page 592 Displaying column totals with graph designs You can include column totals with your graph design. To display column totals with the graph design: Follow steps 1 through 5 of the procedure in Creating a graph design. Select the type tool. Position the pointer at a point where you want the value to appear, near or in the rectangle that deﬁnes the design.
Page 593 The ﬁrst digit determines how many places appear before the decimal point. For example, if your total was 122, a digit of 3 would display 122. If you enter 0 for the ﬁrst digit, the program adds the number of places necessary for the value.
Page 594 To align the decimal points, choose Type Paragraph, and select the Right Alignment option. Using the selection tool select the entire design, including the rectangle and any type. Choose Arrange Group to group the design. Choose Object Graphs Design. Click New. A preview of the selected design appears.
Page 595 Applying graph designs to a graph You can apply a graph design that you have created or imported as a column in a column graph or as a marker in a line or scatter graph. See also • Reusing a graph design •...
Page 596 If you choose a repeating graph design, enter a value in the Each Design Repre- sents text box for what each design rep- resents. For example, if each design should represent 100 units, enter 100 in the Each Design Represents text box. Also select whether to chop or scale any fractions of the design.
Page 597 The design is scaled so that the back- most rectangle in the design is the same size as the default square marker on the line or scatter graph. Line graph with marker designs...
Page 598 Reusing a graph design You may want to reuse a graph design that you have created and edit it to create a new design. If you have the original artwork, you can alter it and then rename the design using the Graph Design dialog box.
Page 599 Importing and Exporting Artwork About importing and exporting artwork File formats supported in Adobe Illustrator Using the Clipboard to import and export artwork Using the drag and drop feature to import and export artwork Opening and placing artwork Exporting artwork...
Page 600 EPS, PICT, TIFF, PDF, and PostScript®. In addition to these common graphic ﬁle formats, Illustrator can use artwork in any ﬁle format supported by an Adobe Photoshop-compatible ﬁle format plug- in ﬁlter, including GIF, PhotoCD™, PIXAR, Scitex CT®, and many more.
Page 601 File formats supported in Adobe Illustrator File Import Export Considerations format methods methods TIFF Open, None Illustrator opens or places only first page of a Place multipage file. PostScript Open Clipboard; Illustrator opens or places only first page of a...
Page 602 Illustrator docu- ment and another application. You can use the Clipboard to: • Copy text between Adobe Illustrator and most word-processing and page layout applications. • Copy selected paths between Adobe Illustrator and Adobe Photoshop, Adobe Streamline, Adobe Dimensions, or Adobe Premiere.
Page 603 To copy artwork as bitmap PICT images to the Clipboard: Select the object or objects you want to copy. Hold down the Option key and choose Edit > Copy.
Page 604 • You can drag and drop selections of artwork between Illustrator documents. • You can drag and drop selections of artwork between Adobe Illustrator and the desktop. Selections are copied to the desktop as picture clippings, which can be dragged and dropped into the desired document.
Page 605 • You can drag and drop selections of artwork between Adobe Illustrator and other applications that support the drag and drop feature, such as Scrapbook. To drag and drop artwork to the center of a Photoshop document window: Select the artwork you want to copy.
Page 606 Opening and placing artwork You can use the Open or Place com- mands to import artwork created by other applications. • Opening ﬁles created by other applications • Placing EPS ﬁles • Placing non-EPS ﬁles created by other applications See also •...
Page 607 You can use the Open command to open a document created by another applica- tion, and create a new Adobe Illustrator document. Vector artwork in the docu- ment you open is converted to Illustra- tor paths, which can be modiﬁed using any Illustrator tool;...
Page 608 Click Open. Note: If you open an EPS ﬁle that contains fonts not installed on your system, Courier is used for the missing fonts when you print.
Page 609 Using the Place command with images in ﬁle formats other than EPS includes a copy of the ﬁle copies in an existing Adobe Illustrator document—just as if the ﬁle had been opened in Illustrator. Vector artwork is converted to Illustra- tor paths;...
Page 610 ﬁle you want, the ﬁle has been saved in a format that Illustrator cannot read. See the Read Me ﬁle installed with Adobe Illustrator for a complete list of all the ﬁle formats you can import. Click Place. The artwork is converted...
Page 611 Placing EPS files When you use the Place command to insert an EPS image into existing Illus- trator document, the Place command creates a link to an external ﬁle and does not include a copy of the ﬁle in the document.
Page 612 See also • Opening ﬁles created by other applications • Managing Adobe Illustrator docu- ments containing placed EPS ﬁles. • Placing non-EPS ﬁles created by other applications To place an EPS file: Open the Illustrator document into which you want to place the EPS ﬁle.
Page 613 To turn on and off the display of EPS preview images in Artwork view: Choose File > Document Setup. Click the Show Placed EPS Images option, and click OK. Artwork view; Artwork view with preview on Preview view...
Page 614 When you make changes to a placed EPS image using the application that created it, the changes are automatically applied to the Illustrator documents that contain the placed ﬁle. Note also that if you select a placed EPS image and then replace it with any other image, any transformation attributes, such as scaling, rotating, or shearing, are applied to the new place image.
Page 615 Managing Adobe Illustrator documents containing placed EPS files You can display the location of an EPS ﬁle that you want to move or edit, and you can list the locations of all placed ﬁles in a given Illustrator document. To determine the location of a placed file: Select the placed artwork.
Page 616 Open the Document Info text ﬁle with TeachText or any word processing pro- gram. The Placed Art section lists the locations of all the placed EPS ﬁles. Note: When you move an Illustrator document that contains placed EPS ﬁles, you must either move the original ﬁles, or ﬁnd the placed ﬁles the next time you open the Illustrator document.
Page 617 Including placed EPS files in Illustrator documents By default, when you save a document that contains a placed EPS ﬁle, the placed ﬁle remains as a separate ele- ment that is linked to the Illustrator doc- ument. You can incorporate the placed ﬁle into the Illustrator document and break the link between the placed ﬁle and its original application.
Page 618: Exporting Artwork
Exporting artwork To use an Adobe Illustrator document in another application, you must save the document in a graphics ﬁle format that the other application can use. You can save Illustrator documents in a number of graphic formats, including EPS, PDF, and GIF. However, using a format other than EPS often results in a loss of quality.
Page 619 To save an Illustrator document in another format: Choose File > Save As. Select the folder where you want to save the ﬁle and rename the ﬁle or change the ﬁle sufﬁx to reﬂect the new ﬁle format. Changing the ﬁlename ensures that your original artwork is preserved on disk.
Page 620 Saving documents in previous versions of Adobe Illustrator Some applications can import Illustrator ﬁles directly without requiring that the ﬁles ﬁrst be saved in a different format. You might ﬁnd, however, that these applications cannot import the current version of the Illustrator ﬁle format.
Page 621 EPS ﬁles. Unlike many other graphic ﬁle formats, EPS ﬁles preserve all of the graphic elements you can create with Adobe Illustrator. Illustrator documents saved as EPS ﬁles remain Illustrator documents. You can double-click an Illustrator EPS ﬁle to start Illustrator and open the document.
Page 622 Choose from the following options: • Select the kind of preview image you want to save with the EPS ﬁle. • Select an Adobe Illustrator compati- bility option. Keep in mind, however, that certain features, such as gradients and layers, are not supported by earlier versions of the Illustrator ﬁle format.
Page 623 Using the Publish and Subscribe commands You can use Adobe Illustrator Publish and Subscribe commands to share and update material between documents. Publish and Subscribe let you copy and update material from on e document to other documents. Once you’ve pasted...
Page 624 You can then open the document in which you want to insert the edition; this document is called a subscriber. Each time you make changes to the pub- lished selection and save the changes, the artwork in the subscribing docu- ments is updated.
Page 625 PICT and EPS ﬁle. If the ﬁle is being subscribed to by an application that is compatible with the EPS format, such as Adobe Illustrator, save the ﬁle as PICT and EPS. If the subscribing application is not EPS compatible, save the ﬁle as PICT only.
Page 626 • Choose Manual to update the edition only when you click the Update Edition Now button. Select the ﬁle format in which to update the edition, either PICT only, or PICT and EPS. Click OK. To subscribe to published artwork: Choose Edit >...
Page 627 About vector graphics and bitmap images Adobe Illustrator creates a type of graphics known as vector graphics. Vec- tor graphics represent objects mathe- matically as straight lines, arcs, and other geometric shapes. Because vector graphics are represented mathemati- cally, software can perform such opera- tions as scaling and rotating without changing the quality of the artwork.
Page 628 Paint and image-editing software, such as SuperPaint and Adobe Photoshop, generate a different type of electronic artwork known as bitmap images, also called raster images. Computer displays and printers are called raster devices because they present information with a raster, or grid of dots. The raster is a sequence of lines, and each line is a row of dots called pixels (picture elements).
Page 629 ﬁxed resolution deter- mined by the scanning software or by the bitmap image you are importing into. You can also convert vector art- work in Adobe Illustrator using the Ras- terize command. (See Changing vector graphics into bitmap...
Page 630 Bitmap artwork See also • Resolution and bit depth • File size and image compression...
Page 631 The original MacPaint® program, for example, creates 72-ppi images. With image-editing software, such as Adobe Photoshop, you can change the resolution of images by either combin- ing pixels to make larger pixels, or by dividing pixels into smaller pixels.
Page 632 Bit depth is the number of bits used to describe each pixel in a bitmap. The bit depth describes the amount of color or grayscale information conveyed by a pixel. A black-and-white bitmap has a bit depth of one. Each pixel can be either 0 or 1, which correspond to black and white.
Page 633 Indexed-color bitmaps are 8-bit images that include a color table that deﬁnes a 24-bit color for each of 256 values that can be represented by an 8-bit value. An 8-bit image can thus use colors usually available only for 24-bit images. How- ever, the indexed-color image is still limited to a total of only 256 colors.
Page 634 File size and image compression The storage required for bitmap images is the product of the image size, Resolu- tion and bit depth. A 2-by-4-inch, 1200- ppi, 24-bit color image, for example, requires more than 34 MB (megabytes) of storage, while the same image at 300-ppi requires about 2 MB.
Page 635 • Lemple-Zif-Welch (LZW) is a lossless compression technique supported by TIFF, PDF, and PostScript language ﬁle formats. • Joint Photographic Experts Group (JPEG) is a lossy compression technique supported by the PDF and PostScript language ﬁle formats. • CCITT encoding is a family of lossless compression techniques for black-and- white images that is supported by the PDF and PostScript language ﬁle formats...
Page 636 Some graphic ﬁle formats con- tain only vector drawings or only bit- map images, but many can include both in the same ﬁle. For more information, File formats supported in Adobe Illustrator and the Read Me ﬁle. • TIFF ﬁle format •...
Page 637 TIFF file format TIFF is a ﬂexible bitmap image format that is supported by virtually all paint, image-editing, and page-layout applica- tions. Also, virtually all desktop scan- ners can produce TIFF images. Early versions of the TIFF format supported only uncompressed black-and-white images, but the most recent version supports up to 24-bit RGB, CMYK, and YCbCr color images, and both the LZW...
Page 638 PostScript language file format PostScript is a page description lan- guage that is built into many desktop printers and virtually all high-end print- ing systems. Because it is built into so many printers, most Macintosh, Win- dows, and UNIX® application can create PostScript ﬁles for printing.
Page 639 PostScript printer, you can use the Print-to-File option in the Print dialog box to create a PostScript ﬁle. Note: Adobe recommends that you create PostScript ﬁles with the Apple LaserWriter 8 or Adobe PostScript ®...
Page 640 Encapsulated PostScript (EPS) file format The Encapsulated PostScript ﬁle format is used to transfer PostScript language artwork between applications. Typically, EPS ﬁles represent single illustrations or tables that are placed on a host page, but an EPS ﬁle can also represent a com- plete page.
Page 641 Not all applications that create EPS ﬁles create preview images, however. When you place an EPS ﬁle without a preview image, Illustrator displays a box with an X to represent the EPS artwork. When you place an EPS ﬁle with a TIFF or Windows Metaﬁle preview image, Illus- trator also displays a box with an X for the EPS artwork.
Page 642 Windows, UNIX , and DOS. Acrobat ® Reader software is included on your Adobe Illustrator CD-ROM. See the Getting Started guide and the online documentation in the Acrobat folder for more information on Adobe Acrobat. Based on the PostScript Level 2 lan-...
Page 643 You can also use Illustrator to make changes to individual PDF pages. To modify a page within a PDF ﬁle, open the PDF ﬁle, select the page to modify, make changes, and save the modiﬁed PDF ﬁle. The modiﬁed page is restored to its original position in the PDF ﬁle.
Page 644 PICT file format Together with the Encapsulated Post- Script (EPS) ﬁle format, the PICT ﬁle for- mat is the most common graphic inter- change format for Macintosh applications. The ﬁrst version of the PICT format, PICT 1, represents black- and-white vector and bitmap images, but bitmap images have a ﬁxed resolution of 72 dpi, which is the resolu- tion of most Macintosh monitors.
Page 645 PC Paintbrush file format (PCX) PCX is a bitmap image ﬁle format that is supported by many Windows applica- tions. PCX supports the RLE compres- sion method. Images can have a bit depth of 1, 4, 8, or 24. Version 5 PCX ﬁles support a custom color palette, but version 3 PCX ﬁles do not.
Page 646 Windows bitmap file format (BMP) BMP is a bitmap image ﬁle format that is supported by many Windows applica- tions. BMP supports the RLE compres- sion method. Images can have a bit depth of 1, 4, 8, or 24.
Page 647 CompuServe Graphics Interchange Format (GIF) The CompuServe GIF format is a bitmap ® image ﬁle format that is used exten- sively on both the CompuServe network and the World Wide Web. GIF images can have a bit depth from 1 to 8. The GIF format supports LZW compression.
Page 648: Printing Documents
Printing Documents Printing: an overview Resolution and screen frequency basics Printing artwork Printing composites Printing gradients and color blends Improving printer performance Compiling information about the document Annotating objects...
Page 649 Printing: an overview When you print a document, the Adobe Illustrator program sends it to a printing device, either to be printed directly onto paper or to be converted to a positive or negative image on ﬁlm. In the latter case, the ﬁlm can then be used to create...
Page 650 For artwork that will be commercially reproduced and that contains more than a single color, you must print the art- work on separate master plates, one for each color. This process is called color separation Image printed as composite on color laser printer, and as four-color separation on imagesetter •...
Page 651 • Compiling information about the document • Annotating objects • Aligning the artboard with the printed page • About separations See also the Adobe Print Publishing Guide, included in your Adobe Illustra- tor software package...
Page 652 Resolution and screen frequency basics The detail in a printed image results from both the resolution and Screen fre- quency. The higher an output device’s resolution, the ﬁner (higher) a screen frequency or screen ruling you can use. Resolution is the number of dots or pix- els per linear unit used to reproduce art- work and images.
Page 653: Monitor Resolution
Monitor resolution Of all the forms of output devices, mon- itors usually have the lowest resolu- tion—typically in the range of 70 dpi to 96dpi. The typical Macintosh monitor, for example, has a resolution of 72 dpi; a typical PC-compatible monitor has a resolution of 96 dpi.
Page 654 Printer resolution Inkjet printers have the lowest resolu- tion printed output and usually print in the range of 180 dpi to 360 dpi. Laser printers occupy the middle range, usu- ally with a resolution of 300 dpi to 600 dpi. At the top of the range are image- setters, which can produce output from 1200 dpi to 5000 dpi.
Page 655 Image resolution Raster images are saved as groups of pixels at a ﬁxed resolution. In contrast, vector drawings are saved as mathemat- ical expressions, and display at the res- olution available to the output device. The image resolution refers to the spac- ing of pixels in the raster image, and is measured in pixels per inch (ppi).
Page 656 Bit resolution Also known as pixel depth, bit resolu- tion determines the number of colors available to pixels in a raster image. For example, a pixel with a bit resolution of 1 has 2 , or two, possible values: on and off.
Page 657 Screen frequency Although separate from resolution, screen frequency also affects the sharp- ness of a printed image. Also known as screen ruling, screen frequency refers to the number of halftone cells per inch in the halftone (or line) screen used to print a grayscale image or color separa- tion.
Page 658 Printing artwork For any type of artwork you print, you can choose from a set of standard print- ing options in the Page Setup dialog box. You can then print the artwork using the Print dialog box. • Setting crop marks •...
Page 659 Choose any of the printing options, as described in your Macintosh system documentation. Choose one of the following options: • Click OK. • Click Options to choose from another group of printer settings that are avail- able on the selected printer. (See your Macintosh documentation for informa- tion on these options.) Choose the options you want;...
Page 660 See Additional tips for efﬁcient printing, and PostScript language ﬁle format. Click Print. By default, Adobe Illustra- tor prints all visible layers. To print an individual layer, see Making selected layers nonprintable.
Page 661 Printing composites If you are making color separations, you may want to print a color or grayscale composite proof to check your work or to send to the print shop with each set of separations. A composite image can help you design and proof your artwork and check your separation setup before printing ﬁnal (and costly) separations.
Page 662 To create a composite: Choose File > Print. Choose Normal from the Output pop-up menu. Choose any other printing options. Printing artwork for more information. Click Print.
Page 663 Setting crop marks Crop marks deﬁne where your artwork will be trimmed after it is printed. You can create crop marks using the Make Cropmarks command to place them directly into the artwork, or from the Separation Setup dialog box to place them in separations.
Page 664 If you plan to separate a color Illustrator document, you should ﬁrst set crop marks in the artwork. You can reposition the crop marks later either by deleting the ﬁrst set of crop marks and then set- ting new crop marks, or by using the Separation Setup dialog box to change the existing crop marks.
Page 665 Note: If you have selected the Single Full Page option in the Document Setup dialog box, you can use the Make Crop- marks command without ﬁrst creating and selecting a rectangle to deﬁne the boundaries of the crop marks. The crop marks are set at the outer corners of the page.
Page 666 Setting trim marks Like crop marks, trim marks also deﬁne where a printed image should be trim- med. You cannot create more than one set of crop marks in a ﬁle; however, you can create multiple trim marks inside your artwork using the Trim Marks ﬁlter. The Trim Marks ﬁlter creates trim marks based on an imaginary rectangle drawn around the imageable area of the object.
Page 667 Illustrator does not recognize trim marks created with the Trim Marks ﬁlter as special objects when creating color separations. As a result, trim marks do not affect the bounding box, or print- able image area, around the artwork. Trim marks are useful, therefore, when you want to create several sets of crop marks around objects on a page—for example, when you are creating a sheet...
Page 668 Printing gradients and color blends Documents with gradients and color blends can be difﬁcult for some printers to print smoothly (without discrete bands of color) or at all. Banding in a blend Follow these general guidelines to help avoid banding: •...
Page 669 • Use lighter colors or make dark blends short. Banding is most likely to occur between very dark colors and white. See also • Printing gradients with Adobe Photoshop, Adobe Dimensions, and older versions of Adobe Illustrator • Improving gradient printing with the Compatible Gradient Printing option •...
Page 670 Ensuring your resolution/line screen produces 256 grays In printing your document, you may ﬁnd that the resolution of your printer, when combined with the chosen line screen, allows fewer than 256 levels of gray. A higher screen frequency decreases the levels of gray available to the printer.
Page 671 This table lists the maximum line screen you can use with a printer to maintain all 256 levels of gray. Final Maximum Imagesetter Line Screen Resolution to Use 1000 1270 1446 1524 1693 2000 2400 2540 3000 3252 3600 4000...
Page 672 Calculating the maximum blend length based on the color change Adobe Illustrator calculates the number of steps in a gradient based on the per- centage of change between the colors in the gradient. The number of steps, in turn, determines the maximum length of the blend before banding occurs.
Page 673 Calculate the number of steps in the blend, using this formula: Number of steps = Number of grays Percent change in color To ﬁgure out the percent change in color, subtract the lower color value from the higher color value. For exam- ple, a blend between 20% black and 100% black is an 80%—or 0.8—change in color.
Page 674 Calculating the number of steps in a blend Number of Steps Maximum Blend Length Adobe Illustrator Recommends Points Inches 21.6 .762 43.2 1.524 64.8 2.286 86.4 3.048 108.0 3.810 129.6 4.572 151.2 5.334 172.8 6.096 194.4 6.858 216.0 7.620 237.6 8.382...
Page 675 Photoshop, Adobe Dimensions, and older versions of Adobe Illustrator Adobe Photoshop 2.5, Adobe Dimen- sions 1.0, and versions of Adobe Illus- trator earlier than 5.0 cannot read the multicolored gradients in Illustrator 5.0, 5.5, and 6.0. If you want to use gradi- ents in Photoshop or in an earlier ver- sion of Illustrator, save the ﬁle in Illus-...
Page 676 Improving gradient printing with the Compatible Gradient Printing option Some older Level 1 imagesetters have difﬁculty printing gradients. For exam- ple, these imagesetters may take exces- sively long to print ﬁles with gradients, or may print not print such ﬁles at all. The Compatible Gradient Printing option enables such imagesetters to print your ﬁles.
Page 677 Improving gradient printing on low-resolution printers Illustrator automatically turns off the printer’s default screens and uses Adobe Screens to enhance the output of gradi- ents when printing to low-resolution printers (600 dpi and less) that support fewer than 256 gray levels. However, you may want to use the printer’s...
Page 678 Improving printer performance Objects that contain overly complex paths are one of the main causes of printing problems. A path’s complexity is determined by the number of line seg- ments and anchor points it contains. The more complex the path, the longer it takes to print.
Page 679 • Increasing the ﬂatness of curves. See Creating a printer override (Riders) ﬁle for more information. See also • Additional tips for efﬁcient printing • The ReadMe ﬁle installed in the Adobe Illustrator folder...
Page 680 Splitting paths to print large, complex shapes If you are printing Adobe Illustrator doc- uments containing overly long or com- plicated paths, the document may not print, and you may receive limitcheck error messages from your printer. To simplify paths, you can split long,...
Page 681 Complex object, and Split Long Paths option applied It is a good idea to save a copy of your original artwork before splitting paths. That way, you will still have the original, unsplit document to work with if needed. Keep in mind that Illustrator treats split paths in the artwork as separate objects.
Page 682 To split long paths: Choose File Document Setup. Select the Split Long Paths option, and click OK. Illustrator will split paths as needed when you print or save the ﬁle. To split a stroked path: Split the path with the scissors tool.
Page 683 To rejoin a split path: Delete any extra lines created by the Split Long Paths option by selecting the lines and pressing the Delete key. Select all of the split paths that made up the original object. Choose Filter Pathﬁnder Unite.
Page 684 This creates a less accurate curve, but improves printing performance. Adobe Illustrator prints fastest and best by using a default output resolution set- ting of 800 dots per inch (dpi). However, in some cases you might want to decrease the output resolution—such as...
Page 685 You can also change the output resolu- tion of future objects you create (with- out affecting existing objects) with the Document Setup dialog box. Note: You can also change the ﬂatness of an object. See Creating a printer over- ride (Riders) ﬁle for more information.
Page 686 Additional tips for efficient printing You may not be able to print an image, an image may take a long time to print, or your printer may simply quit with or without issuing an error message. Error messages include a rangecheck error or a VMerror (virtual memory error).
Page 687 Level 2 imagesetter instead. You can also copy the ﬁle and rasterize the nonprinting artwork; see Changing vector graphics into bitmap images more information. • Use the same version of Adobe Illustrator to print documents that were used to create them.
Page 688 6.0 to print 6.0 documents. To retain 6.0 printing and text enhance- ments when your service bureau does not have version 6.0, use Adobe Illustra- tor 6.0 to save a copy of the 6.0 docu- ment in EPS format so that it can be...
Page 689 Creating a printer override (Riders) file The Make Riders ﬁlter creates an Adobe Illustrator EPSF Riders ﬁle. The Riders ﬁle is PostScript code that, when added to an Adobe Illustrator document, over- rides how a document prints. The Delete Riders ﬁlter removes Riders ﬁles from your system.
Page 690 ﬁles that are saved as EPS ﬁles or printed from Illus- trator. To remove the Riders information from your ﬁles, remove the Adobe Illustrator EPSF Riders ﬁles, and resave all documents that contain embedded Riders information.
Page 691 • Choose a spot function to determine the halftone dot’s shape. Choose Import from the Spot Function pop-up menu to select and import a spot function. Warning: An imported spot function must be in PostScript language, correctly formatted. Importing an incorrectly formatted spot function can corrupt a document or make it unprintable.
Page 692 • Choose the Error Handler option to print error information on the page if a PostScript error occurs. If you are using the Adobe PSPrinter or the LaserWriter 8.0 or later printer driver, turn on the printer driver’s error handling instead of using the Riders error handler.
Page 693 To delete a Riders file: Choose Filter Other Delete Rider. Select the Riders ﬁle you want to delete. This ﬁle is called Adobe Illustra- tor EPSF Riders. Click Delete.
Page 694 Compiling information about the document The Document Info command lists gen- eral document information and object characteristics, as well as the number and names of custom colors, patterns, gradients, fonts, and placed art. To view document information using the Document Info command: Select an object with a selection tool, or if you want information on all objects, deselect all objects by choosing...
Page 695 Choose from the seven information screens listed in the Info pop-up menu: • Document lists the document name and settings in the Document Setup dialog box. This information screen is available only if you haven’t selected any objects. • Objects lists the number of paths, masks, compound paths, custom colors, patterns, gradients, fonts, and placed art contained in the selected...
Page 696 Annotating objects You can use the Note text box in the Attributes dialog box to annotate an object so that it can easily be located in the PostScript ﬁle with a text editor. This feature can help service bureaus or other professionals trying to trouble- shoot printing problems.
Page 697 Click OK. The annotation is associ- ated with the object. When you save the artwork, the object is annotated in the PostScript language program with your annotation preceded by the text string %AI3_Note.
Page 698: Producing Color Separations
Producing Color Separations About separations CMYK output Spot color output Step 1: Calibrate your color monitor Step 2: Check colors in your artwork Step 3: Select overprint options for colors you want to appear transparent Step 4: Create a trap to compensate for misregistration on press Step 5: Place crop marks around the image to be separated...
Page 699 About separations Artwork can consist of custom (spot) colors, process colors, or both. When you separate artwork containing cus- tom colors, a separate plate is created for each custom color that contains only objects of that speciﬁc color. When you separate artwork that contains process colors, each color is separated into from one to four plates, depending on the...
Page 700 Producing a color separation in Adobe Illustrator requires ﬁve basic and two optional steps: • Step 1: Calibrate your color monitor •...
Page 701 • Step 7: Print and save separations See also The Adobe Print Publishing Guide for more information on the basics of print- ing, including line screens, resolution, process colors, and spot colors.
Page 702 CMYK output Artwork is separated into CMYK output when you’re preparing an image to be printed using the process colors cyan (C), magenta (M), yellow (Y), and black (K). (The letter K is used for black to avoid confusion, because B might also stand for blue.) jump to art...
Page 703 Spot color output You can use custom inks to create spot colors (also called custom colors), in addition to or in place of process colors. Because a spot color is printed using a single plate, spot colors can often reduce the complexity and cost of printing artwork.
Page 704 To view the process color equivalent of a spot color: Select the Custom color selection option at the top of the Paint Style palette. Double-click the spot color whose process color equivalent you want to view. The CMYK values for the spot color appear in the Custom Color dialog box.
Page 705 Separating custom and process colors Process colors: Process plus custom color: Custom color is con- verted to process Custom color is printed color equivalent and on a separate plate. printed as part of process color plates. Options set in Color Separation dialog box. Options set in Color Separation dialog box.
Page 706 Step 1: Calibrate your color monitor To produce a full spectrum of color, video monitors mix the three basic colors of light—red, green, and blue (or RGB)—whereas, the printed page mixes the four basic ink colors (or pro- cess colors) of cyan, magenta, yellow, and black (CMYK).
Page 707 About color models Most of the visible spectrum can be represented using different color models based on different sets of primary colors. • RGB. Devices that project light, such as a computer monitor, represent the range of colors in the visible spectrum by controlling the intensities of the primary colors red, green, and blue (RGB).
Page 708 • CMYK. On printed material, combining the four inks cyan (C), magenta (M), yellow (Y), and black (K) in different intensities represents the colors in the visible spectrum. In theory, adding the primary colors cyan, magenta, and yellow together produces black, and subtracting them leaves white.
Page 709 The gamut of a color system is the range of colors that can be displayed or printed. The widest gamut is in the visible spectrum, which contains all the colors visible to the human eye. The RGB gamut and CMYK gamut are subsets of the visible spectrum.
Page 710 A color bar displays the process colors and combinations of color, including a four-color black. To calibrate your color monitor: Start the Adobe Illustrator program. Choose File Preferences Color Matching. The Color Matching dialog...
Page 711 If you are using Adobe Photoshop with Adobe Illustrator, choose the CIE calibration option, and then choose from the following options: • Choose an option from the Ink pop-up menu that matches the ink set and color printer you are using. The default option...
Page 712 Control Panels folder of the System Folder, double-click the Gamma icon; the Adobe Photoshop Gamma Control Panel appears.) Note: Adobe Photoshop uses a color model developed by the Centre Interna- tionale d’Eclairage (CIE) to convert images between RGB and CMYK modes.
Page 713 Adobe Color Picker to match the printed sample.
Page 714 To adjust colors using the Apple Color Picker: In the Color Matching dialog box, click the color swatch that does not match your printed color sample to display the Color Picker. The color swatch displays an ink simula- tion, or CMYK approximation, of the color.
Page 715 When the screen color matches the printed sample, click OK. Repeat this procedure for each of the colors in the Color Matching dialog box that does not match your printed sample.
Page 716 Step 2: Check colors in your artwork After calibration, colors in the artwork may look different, because they more closely match the printed output. For example, an object that looked red on the screen before may now look orange. At this point, you need to correct any color problems in the artwork.
Page 717 Types of colors you can use, and how they are separated You can paint artwork with process colors, spot colors, or a combination of both. • Creating a process color • Selecting colors using other color systems • Creating custom colors •...
Page 718 Printing gradients as separations When separated, a gradient between two custom colors creates custom color artwork; a gradient that uses any non- custom color creates process color artwork. To create a gradient that will separate on one piece of ﬁlm between a custom color and white, create a gradient ﬁll between the custom color and a 0% tint of the color.
Page 719 Step 3: Select overprint options for colors you want to appear transparent By default, both ﬁlls and strokes in the Adobe Illustrator program appear opaque because the top color knocks out, or cuts out, the area underneath. You can prevent knockout by using the...
Page 720 Colors knock out Overprint option on by default The Overprint Black dialog box allows you to set black ﬁll or black stroked lines to overprint (or, alternatively, to remove overprinting commands from black ﬁll or black stroked lines). You may want to overprint in the follow- ing situations: •...
Page 721 • Overprint when the artwork does not share common ink colors and you want to create a trap or overlaid ink effects. When overprinting process color mixes or custom colors that do not share common ink colors, the overprint color is added to the background color.
Page 722 To print colors transparently by overprinting: Select the object or objects that you want to overprint. This example shows the yellow and magenta ﬁlls selected. Cyan Magenta (bottom) (middle) Yellow (top) Choose Object Paint Style. In the color selection options, select the Fill Overprint option.
Page 723 The preview on-screen appears the same as before, but the selected colors overprint when printed as a separation. To set or remove overprinting from black lines: Select the objects that will have over- printing added or removed. You can set overprinting for custom colors that contain a speciﬁc percentage of black or for process colors that include black.
Page 724 • Select the Include Blacks with CMY option to apply overprinting to paths painted with cyan, magenta, or yellow if the path also contains black at the speciﬁed percentage. • Select the Include Custom Blacks option to apply overprinting to custom colors that include black at the speciﬁed percentage.
Page 725 Step 4: Create a trap to compensate for misregistration on press Misregistration can cause gaps between colors on the ﬁnal output when colors printed from separate plates overlap or adjoin one another. To compensate for potential gaps between colors in art- work, print shops use a technique called trapping to create a small area of overlap (called a trap) between two...
Page 726 Paint Style palette’s Overprint option. You can also create trap using a dedi- cated trapping program, such as Adobe TrapWise®. • Trapping with tints • Trapping type • Using the Trap ﬁlter • Trapping by overprinting...
Page 727 About traps When overlapping painted objects share a common color, trapping may be unnecessary if the color that is common to both objects creates an automatic trap. For example, if two overlapping objects contain cyan as part of their CMYK values, any gap between them is covered by the cyan content of the object underneath.
Page 728 You can create both spread and choke in the Adobe Illustrator program. It is generally best to scale your graphic to its ﬁnal size before adding a trap. Once you create a trap for an object, the amount of trapping will increase or decrease if you scale the object.
Page 729 Trapping with tints When trapping two light-colored objects, the trap line may show through the darker of the two colors, resulting in an unsightly dark border. For example, if you trap a light yellow object into a light blue object, a bright green border is visible where the trap is created.
Page 730 Trapping type Trapping type can present special prob- lems. Avoid applying process colors to type at small point sizes, because any misregistration can make the text difﬁ- cult to read. Likewise, trapping type at small point sizes can result in hard-to- read type.
Page 731 Using the Trap filter The Trap ﬁlter creates traps for simple objects. The ﬁlter identiﬁes the lighter artwork—whether it’s the object or the background—and overprints (traps) it into the darker artwork. Area of Area of trap knockout Foreground Background color color Function of Trap ﬁlter See also...
Page 732 If the top and bottom objects have sim- ilar color densities so that one color is not obviously darker than the other, the Trap ﬁlter will determine the trap based on slight differences in color. If the trap speciﬁed by the Trap dialog box is not satisfactory, you can use the Reverse Trap option to switch the way in which the Trap ﬁlter traps the two objects.
Page 733 Enter a value in the Height/Width Per- centage text box to specify the trap on horizontal lines as a percentage of the trap on vertical lines. Specifying different horizontal and ver- tical trap values lets you compensate for on-press irregularities, such as paper stretch.
Page 734 Enter a Tint Reduction value to change the tint of the trap. The default value is 40%. The Tint Reduction value reduces the values of the lighter color being trapped; the darker color values remain at 100%. The Tint Reduction value also affects the values of custom colors.
Page 735 • Select the Convert Custom Colors to Process option when trapping custom colors if you want to convert the trap to equivalent process colors. This option creates an object of the lighter of the custom colors and overprints it. By converting the trap to a process color, you prevent another custom color (and separation) from being created just for...
Page 736 Trapping by overprinting For more precise control of trapping and for trapping complex objects, you can create the effect of a trap by stroking an object and setting the stroke to over- print. When stroking an overprinting a line you can trap just part of an object trap a line.
Page 737 Choose one of two options: • To create a spread, enter the same color values for the Stroke as appear in the Fill options. This method enlarges the object by stroking its boundaries with the same color as the object’s ﬁll. Stroke creates Fill creates spread trap...
Page 738 Stroke creates Fill creates choke trap knockout Area of trap Area of knockout Object stroked with 1-point stroke of background color In the Weight text box, enter a stroke width of between 0.6 and 2.0 points. A stroke weight of 0.6 point creates a trap of 0.3 point.
Page 739 To trap a line: Select the line to be trapped. In the Paint Style palette, stroke the line with white, and select the desired line weight. Copy the line, and choose Edit Paste in Front. The copy is used to create a trap.
Page 740 To trap part of an object: Draw a line along the part of the object you want to trap. If the object is complex, select the edges using the direct-selection tool, copy them, and choose Edit Paste in Front to paste the copy directly on top of the original.
Page 741 ﬁle contained several business cards that you planned to separate. To create more than one set of crop marks, draw or place the crop marks in Adobe Illustrator, or use the Trim Marks ﬁlter.
Page 742 Step 6: Set separation options Setting up a separation involves choos- ing the separation options, and then printing or saving the ﬁle. The separa- tion settings you choose for a document are saved with the separated ﬁle. If you open a ﬁle that has never been sepa- rated in Illustrator, the program returns to the default settings.
Page 743 • Specifying whether to preview the artwork • Specifying which layers to separate • Specifying which colors to create separations for • Separating custom colors as process colors • Specifying the halftone screen ruling • Specifying the page size and orien- tation •...
Page 744 Locate the PPD folder, which was placed in the Utilities folder when you installed the Adobe Illustrator program. If you didn’t install the PPD folder when you installed Adobe Illustrator, install the folder now; see Adobe Illustrator Getting Started for instructions.
Page 745 (If you installed the PSPrinter driver, you may also have a set of PPD ﬁles in the Printer Descriptions folder, located in the Extensions folder in the System Folder.) Select a PPD ﬁle that corresponds to the output device you will use to print your separations, using the scroll bar as needed.
Page 746 Specifying whether to preview the artwork The Preview option lets you determine whether to display a preview of the art- work in the Separation Setup dialog box, or display a bounding box with an X through it. To preview the artwork: In the Separation Setup dialog box, select the Preview option.
Page 747 Specifying which layers to separate The Layer pop-up menu lets you specify which layers to include in the separa- tion. For more information on layers, Using Layers. To specify which layers to separate: In the Separation Setup dialog box, choose one of the following options from the Layer pop-up menu: •...
Page 748 Specifying which colors to create separations for The Separation Setup dialog box labels each separation with the color name that Illustrator assigned it. If a dot appears next to the color name under the printer icon, Illustrator will create a separation for the color. A dot under the crossed-out printer icon means that Illustrator won’t create a separation.
Page 749 To specify whether to create a separation for a color: Choose one of the following options: • To create a separation, click next to the color’s name under the printer icon. A black dot appears. • To not create a separation, click next to the color’s name under the crossed- out printer icon.
Page 750 Separating custom colors as process colors You can separate custom colors as equivalent CMYK process colors in the artwork for separations only, without affecting the original artwork. Named CMYK colors are then printed as CMYK separations rather than on a single plate;...
Page 751 Dots next to custom colors indicate whether they will be converted to process colors To separate individual custom colors as process colors: Deselect the Convert to Custom option. Under the process color icon in the Separation Setup dialog box, click next to the custom color’s name.
Page 752 Specifying the halftone screen ruling The Halftone menu displays one or more sets of line screens (lines per inch, or lpi) and resolutions (dots per inch, or dpi) available on the printer or image- setter that will be used to print the color separations.
Page 753 The PPD ﬁles for high-resolution image- setters offer a wide range of possible line-screen rulings paired with various imagesetter resolutions. The PPD ﬁles for lower resolution printers typically have only a few choices for line screens, and they are coarser screens of between 53 lpi and 85 lpi.
Page 754 Note: The default angles and frequen- cies are determined by the selected PPD ﬁle. Be sure to check with your print shop for the preferred frequency and angle before creating your own halftone screens. Specify another separation option, or click OK.
Page 755 Specifying the page size and orientation Adobe Illustrator normally uses the page size default in the PPD ﬁle for the selected printer. However, you can change the page size to any of the sizes listed in the PPD ﬁle as well as specify portrait (vertical) or landscape (horizon- tal) orientation.
Page 756 Note: The imageable area may vary by PPD ﬁle, even for the same page size (for example, letter), because different printers and imagesetters deﬁne the sizes of their imageable areas differ- ently. Make sure that your page size is large enough to contain your artwork as well as crop marks, registration marks, and other necessary printing information.
Page 757 To specify a page size: In the Separation Setup dialog box, choose an option from the Page Size pop-up menu. Specify another separation option, or click OK. To specify the orientation of the page: In the Separation Setup dialog box, choose Portrait or Landscape from the Layout pop-up menu.
Page 758 Specifying a custom page size You can specify a custom page size using the Custom Page Size option in the Page Size pop-up menu. This option is available only if you are using a printer that accommodates various page sizes, such as a high-resolution imagesetter.
Page 759 • To specify a page size larger than the default, enter a new width and height in points in the Width and Height ﬁelds. Be sure to increase the values; decreasing the default values may clip your artwork. • If desired, change the placement of the page by entering a value in points in the Offset ﬁeld.
Page 760 ﬁlm or paper by using the Transverse option in conjunction with the Offset option. Compare the follow- ing examples of an image printed by Adobe Illustrator with the Transverse option on and off.
Page 761 Offset value Offset value Film Saved Transverse off Film saved with Transverse on When both the Offset and Transverse options are selected, the Offset option controls the amount of space between the separations.
Page 762 Specifying the emulsion Emulsion refers to the photosensitive layer on a piece of ﬁlm or paper. Up (Right Reading) means that type in the image is readable (that is, “right reading”) when the photosensitive layer is facing you. Down (Right Reading) means that type is readable when the photosensitive layer is facing away from you.
Page 763 To specify the emulsion: In the Separation Setup dialog box, choose Up (Right Reading) or Down (Right Reading) from the Layout pop-up menu. The image ﬂips. Specify another separation option, or click OK.
Page 764 Specifying the image type The image options determine the image exposure: negative or positive. Typi- cally, print shops require negative ﬁlm in the United States and positive ﬁlm in Europe and Japan. If you are unsure about which image type to use, consult your print shop.
Page 765 You can choose whether to overprint black when printing or saving selected separations. By default, Adobe Illustra- tor version 3.2 and earlier overprinted black and required you to specify a four- color black to knock out black.
Page 766 Specifying the bleed area Bleed is the amount of artwork that falls outside of the bounding box, or crop marks and trim marks. You can include bleed in your artwork as a margin of error—to ensure that the ink is still printed to the edge of the page after the page is trimmed, or to ensure that an image can be stripped into a keyline...
Page 767 If you set crop marks directly in the artwork, rather than in the separation, changing the bleed affects only how much of your artwork shows beyond the crop marks; it does not change how your artwork is cropped. If you set crop marks using the Color Separation Setup dialog box, changing the bleed moves the crop marks farther from or closer to...
Page 768 ﬁle. Illustrator sets the 0, 0 point from this ruler origin. If you do not change the ruler origin in Adobe Illustrator, the 0, 0 point is in its default position at the bottom left corner of the page boundary.
Page 769 Note: The Bounding Box numbers for a given page size (such as Letter) may vary by PPD ﬁle. This is because printers and imagesetters may differ in how they deﬁne the size of an imageable area. To specify the bounding box: In the Separation Setup dialog box, choose one of two options: •...
Page 770 Specifying printer’s marks When you prepare artwork for printing, a number of marks are needed for the printer to register the artwork elements precisely and verify correct color. These marks include such elements as crop marks, registration marks, star targets, calibration bars, and labels.
Page 771 For more precise control over the place- ment of crop marks, use the Make Crop- marks command. For more information about the Make Cropmarks command, Setting crop marks. • Registration marks and star targets. Illustrator places two types of marks around your artwork that the print shop uses to align the separations;...
Page 772 To specify printer marks: In the Separation Setup dialog box, select the Use Default Marks option. Specify another separation option, or click OK.
Page 773 Step 7: Print and save separations When you have completed setting up the separations, you are ready to print or save your separations. Note: The printer or imagesetter you plan to use to print separations must match the PPD ﬁle you speciﬁed when setting up the separations.
Page 774 Choose Separate from the Output pop-up menu. Select the Printer option as the desti- nation, and click Print. To save the separations you selected: Select the separations you want to save. See Step 6: Set separation options for more information. Choose File Print, or return to the Print dialog box if it is still open.
Page 775 Separation Setup dialog box Click on any option for information on that option. return to text...
Page 776 Specifying printer’s marks Star target Label Registration Marks clownfish.ai 177lpi 45 cyan magenta yellow black Progressive Black color bar overprint color bar Crop mark Gradient tint bar return to text...
Page 777: Error Messages And Troubleshooting
(For information on how to reach technical support, refer to the Technical Support card included in the Adobe Illustrator package.) Per- forming these steps can solve many problems and often eliminates the need for telephone assistance: •...
Page 778 Shift key and choosing Restart from the Special menu. Restart Adobe Illustrator. Then open the Preferences folder in your System Folder, and drag the Adobe Illustrator Prefs ﬁle to the Trash; empty the Trash. Restart Adobe Illustrator. • Make sure that any SCSI devices you...
Page 779 Error messages See these symptoms for solutions to the problem you are experiencing: • –8133 error. • Cannot print illustration, offending command “clip”. –8133 error. Limitcheck error. • Can’t open the hyphenation ﬁle “US English Hyphenation.” Text will not be hyphenated. •...
Page 780 • Limitcheck error. • Out of Memory. Not enough memory to perform the operation requested. • VM error.
Page 781 –8133 error. An –8133 error by itself generally means that the overall ﬁle is too complex. You must reduce the number of objects within the ﬁle or reduce the complexity of the objects. For more information, Improving printer performance.
Page 782 Cannot print illustration, offending command “clip”. –8133 error. Limitcheck error. A document containing several masks or several compound objects for masks may be difﬁcult to print. Try to simplify the ﬁle, lower the print- ing resolution, or print to a device with more memory.
Page 783 Can’t open the hyphenation file “US English Hyphenation.” Text will not be hyphenated. The link to your Plug-ins folder is broken. For information on linking Illustrator to the Plug-ins folder, see Using plug-in modules.
Page 784 Can’t open the Illustration. Out of memory or missing resource ID = –192 or –43, occasionally –37, –38, or –39. When the Adobe Illustrator application starts, it checks the software system to determine the output device to be used so that the program can display the cor- rect page size and imageable area.
Page 785 Can’t save preview but all other information was saved successfully. When you save an EPS ﬁle with a pre- view option other than None, Adobe Illustrator creates a picture of the ﬁle as it appears on-screen and attaches it to the EPS ﬁle.
Page 786 Try saving the EPS ﬁle with the Pre- view option set to None. The ﬁle will appear as a gray box on the screen, but will retain all color information and print properly to a PostScript output device.
Page 787 This problem has been addressed in versions 3.0.1 and later of Adobe Illustrator, but these later versions will not be able to open ﬁles created in version 3.0 that...
Page 788 Write down the lines of code you get when you try to open the ﬁle. They are telling you where the error occurs in the Adobe Illustrator code. Make a copy of the ﬁle to work on. Open the copy in a word-processing program such as Microsoft Word or MacWrite™.
Page 789 Remove the parentheses and the asterisk (just leaving the letter). This will disable the guide attribute for the object. Sample Adobe Illustrator code: Bad File Good File 133.7411 540.2636 L 133.7411 540.2636 L 133.7411 498.5 L 133.7411 498.5 L 126.9725 498.5 L 126.9725 498.5 L...
Page 790 Save As, and give the ﬁle a new name, saving in Text Only format. Close the ﬁle. Start Adobe Illustrator, and open the ﬁle from within the application. If you have several compound paths that have been made into guides, you may need to go through this procedure a number of times to get the ﬁle to...
Page 791 RAM your computer has, your system soft- ware conﬁguration, and how much RAM has been allocated to Adobe Illustrator. To allocate more memory to Adobe Illus- trator, see the instructions in Illustrator has insufﬁcient...
Page 792 Limitcheck error. Limitcheck errors usually indicate that part of the ﬁle is too complex for the memory the printer has allocated for speciﬁc tasks. The accompanying Offending Command message—such as Curveto, Fill, or Clip—indicates the source of the problem. The Curveto message usually means that one or more paths are causing the problem.
Page 793 Out of Memory. Not enough memory to perform the operation requested. Such memory messages indicate that the available RAM is limited. Adobe Illustrator stores a duplicate of your art- work in RAM that it reverts to if you choose the Undo command. The more...
Page 794 To reduce the number of Undo levels, choose File Preferences General and decrease the Undo Levels value set in the Edit Behavior option. Click OK. To allocate more memory to Adobe Illustrator, see the instructions in Illus- trator has insufﬁcient memory.
Page 795 VM error. A VM error usually means the printer has run out of memory. To determine which objects are causing the problem, try printing the ﬁle in sections by copy- ing some of the objects in the illustra- tion to a new document and printing; then add objects and print again.
Page 796: Troubleshooting
Troubleshooting See these symptoms for solutions to the problem you are experiencing: • Illustrator has insufﬁcient memory • Anchor points cannot be selected. • As you try to position anchor points, they jump to a nearby anchor point. • Unexpected blank pages appear in printed output.
Page 797 • Rectangles, ovals, and graphs appear drawn at an angle. • Patterns or custom colors are unavailable in the Paint Style palette.The program won’t draw a long path and displays an error message. • The document will not print, or a limitcheck error message appears when you attempt to print.
Page 798 • No values appear on the graph axis. • An error message states that a rela- tively small graph exceeds the available memory. An error message states that a pattern exceeds the available memory. • The object’s center point does not appear in the exact center of the object.
Page 799 Quit Adobe Illustrator. You cannot change the memory allocation while the application is running. In the Finder, select Adobe Illustrator by clicking once on the program icon. (Make sure that you select the Adobe Illustrator program and not the folder.) Choose File Get Info.
Page 800 In the Finder, select Adobe Illustrator by clicking once on the program icon. (Make sure that you select the Adobe Illustrator program and not the folder.) Choose File Get Info. Enter the desired amount of memory in the Preferred Size ﬁeld in the Get Info...
Page 801 Anchor points cannot be selected. The object is locked, or there is another anchor point on top of the anchor point you want to select. If you think that the object might be locked, choose Arrange Unlock All. (Make sure that you unlock each layer individually;...
Page 802 As you try to position anchor points, they jump to a nearby anchor point. The Snap to Point option in the General Preferences dialog box is selected. When this option is turned on, an anchor point that you are dragging will snap to any anchor point within 2 pixels of its position.
Page 803 Unexpected blank pages appear in printed output. You are drawing too close to the Adobe Illustrator program’s page border. A direction point in one of your curves may extend to another page. When you are ready to print, choose File Print.
Page 804 Stroked shapes that appear to be aligned do not line up when you preview or print. Sharp spikes appear in stroked letters, such as , in printed output. The miter line join style is causing the corner points to extend beyond the actual anchor points.
Page 805: Preview View
The screen display is blank in Preview view. The mask attribute is set for a small object in your document, such as a line or a single anchor point, and it is caus- ing all of the objects in front of it to be masked.
Page 806 Banding or shade-stepping occurs on printed blends or gradient fills. The blends or gradient ﬁlls are too long, or there are too many steps in the blend. The maximum number of gray levels that can be printed by an imagesetter is 256.
Page 807 A rotated, reflected, or sheared object disappears. You have rotated, reﬂected, or sheared the object off the screen. To redisplay the object, scroll or zoom out to display the object in its new loca- tion, or choose Edit Undo.
Page 808 Rectangles, ovals, and graphs appear drawn at an angle. You have rotated the x and y axes. When you draw rectangles, ovals, or graphs, their sides are placed parallel to the cur- rent axes. To reset the axes, choose File Prefer- ences General.
Page 809 Patterns or custom colors are unavailable in the Paint Style palette. No patterns or custom colors are avail- able. You can create one or more pat- terns or custom colors for the docu- ment. For information on how to do this, see Creating and working with pat- terns...
Page 810 The program won’t draw a long path and displays an error message. If an error message appears telling you to shorten a path you are drawing, you have exceeded the amount of memory needed to draw the path. The PostScript interpreter limits the number of anchor points in a single path based on the amount of memory available.
Page 811 The document will not print, or a limitcheck error message appears when you attempt to print. Objects in the image are too complex to print. The inability to print generally occurs with very complex objects such as blends, masks, compound paths, pat- terns, multiple groupings, and so on.
Page 812 The document will not print on a QuickDraw printer. Many drivers for QuickDraw printers, especially color printers, require large amounts of free disk space when print- ing. These drivers use the disk space to create and temporarily store a large bit- map image of the artwork.
Page 813 A streak appears in a filled object when you preview or print it. The path is not closed. To close the path, ﬁnd the anchor points that are not connected (zoom in to mag- nify the artwork if necessary), and use the Average and Join commands, or the Unite command, to close the path.
Page 814 The Make Wrap command under the Type menu doesn’t work. There are several possible causes and solutions to this problem: • The type container is in front of the wrapping object; it must be behind the wrapping object. To place the type container in back of the wrapping object, select the wrap- ping object, and choose Arrange Bring...
Page 815 The axis options in the Graph Style dialog box are not applied to the graph. You have not selected the entire graph. Use the selection tool to select the entire graph; then set the axis style in the Graph Style dialog box.
Page 816 All of an area graph appears in Artwork view, but only part of the graph previews and prints. The area graph does not have the First Column in Front option turned on in the Graph Style dialog box. In the Graph Style dialog box, select the First Column in Front option.
Page 817 Changing the graph type for a single data series doesn’t change the series. You have not selected the entire data series. You must select every object in the data series, including the legends. Using the group-selection tool, click one of the elements of the data series (such as a column or a legend) to select it, and then click again to select the entire...
Page 818 No values appear on the graph axis. Either the Value Between Labels in the Graph Axis Style dialog box is set to 0 or you have used manual axis values to create more than 30,000 tick marks. To make values appear on the graph axis, enter a positive or negative value in the Value Between Labels text box in the Graph Axis Style dialog box, or click...
Page 819 An error message states that a relatively small graph exceeds the available memory. An error message states that a pattern exceeds the available memory. You may receive an error message stat- ing that you’re running out of memory if you set too many tick marks on a graph axis, or if you use an overly complex graph or pattern.
Page 820 The object’s center point does not appear in the exact center of the object. The center point of an object is deﬁned by the center of an object’s bounding box. Since the direction lines on a given point are considered part of the object, they can make the bounding box larger than the actual object if they extend beyond the visual edge of the object.
Page 821 Outline Stroke and Offset Path commands leave overlaps and extraneous points. The Outline Stroke and Offset Path com- mands may leave triangular overlaps or extraneous points at corner points of the original object. To remove the triangular overlaps, use the Pathﬁnder Unite ﬁlter. The Unite ﬁl- ter separates the triangular overlaps into individual objects, which you can then select and delete using the...
Page 822 Adjoining objects appear to overlap in Preview view or when printed to low-resolution printers. The PostScript overscan conversion rule can cause adjoining objects to look as if they overlap. The Illustrator previewer and PostScript rasterizers in printers overscan the edges of shapes by one device pixel to prevent gaps from appearing between objects.
Page 823 Adjust Colors command 290 Adobe Acrobat 642 Adobe Developers Association (ADA) 31 Adobe Expert font 521 Adobe Fetch 622 Adobe Gallery Effects User Guide 245 Adobe Illustrator Deluxe CD-ROM 245. See also the Adobe Illustrator Getting Started Guide Adobe Photoshop...
Page 824 averaging 118 defined 79 deleting 112 deleting stray 115 hiding 111 moving 105 problems selecting 801 angle of constraint 168 annotating files 692 objects 696 Anti-aliased option 244 Apply Knife command 259 area graph 526. See also graphs Area Select option 97, 100 area type 431 area-type tool 432 arrow keys, moving objects with 158...
Page 825 Auto-Leading option 449 autotrace tool drawing with 141 setting gap distance 144 Average command 118 axis of reflection 209 axis options 561 banding in blends and gradients 668–672 troubleshooting 806 base 762 baseline 420 baseline shift 458 bevel join 328 bit depth 632 bit resolution 656 bitmap images 4–5, 628...
Page 826 shapes 223–226, 227–229 troubleshooting 806 BMP 646 bounding box defined 60 in patterns 359 in separations 768 Bring to Front command 173 brush preferences 122 brush tool 17, 121 butt cap 326 calibrating, color monitor 706, 710–715 Calligraphic option 123 Calligraphy filter 124 capitalization, changing 520 Case Sensitive option 515...
Page 827 choke trap 727 CIE (Centre Internationale d’Eclairage) 712 CIE calibration option 711 circles, drawing 128 Cleanup command 115, 323, 439 Clear command 167 Clipboard, importing and exporting artwork with 602 closed paths, defined 79 CMYK colors 287, 706, 708 coincident endpoints 119 color adding to gradient fills 353 adjusting 290...
Page 828 colorizing a 1-bit image 249 Colors filters 297 column width, in graphs 485, 536 columns, in text 485 commands. See individual command names Compatible Gradient Printing option 676 composites, printing 661 compound paths 250, 262–263, 264–265 creating 264 defined 262 printing 263 reversing paths within 265 Compound Paths command 682...
Page 829 Create Mask option 244 Create Outlines command 469 creating documents. See opening documents Crop filter 253 crop marks 663–665, 741, 770 eliminating 665 setting 663, 767 Cropmarks command 664 Cursor Key option 158 curved segment 87 curves, drawing 90. See also pen tool Custom Color command 341 custom colors 283, 299–302 and blended objects 229...
Page 830 dashes 522 Data command 532 decimal precision, in graphs 551 Delete Empty Text Paths option 439 Delete key, for removing objects 167 Delete Riders filter 689 Delete Text Paths option 439 delete-anchor-point tool 17, 114 deleting objects 167 deleting unpainted objects 323 deselecting objects 104 designs, creating in graphs 589 Dim Placed Images option 414...
Page 831 drag and drop feature 604 Drop Shadow filter 239 editing text 514 ellipses 523 em space 453 emulsion 762 en and em dashes 522 Encapsulated PostScript. See EPS endpoints 80 coincident 119 joining 119 Entire Document option 523 EPS 640 importing and exporting 601 placing files 611–617 tracing over 145–148...
Page 832 277, 281–283 film base 762 conserving 756, 760 Find Font command 446 finding and replacing text 518–519 finding files. See Adobe Fetch Fit Headline command 507 Fit In Window command 41 flatness 691 FOCOLTONE COLOUR SYSTEM 318 fonts choosing 442–443 family 442 finding and replacing 446–448...
Page 833 Gallery Effects filters 245 gamut 709 gap distance 144 General Preferences dialog box Area Select 100 Auto Trace Gap 144 Auto-Kerning option 456 Baseline Shift 459 Constrain Angle option 152, 171 Corner Radius 129 Cursor Key 153 Freehand Tolerance 83 Greek Type Limit 490 Paste Remembers Layers 178 Ruler Units 47...
Page 834 applying across multiple objects 356 converting into 241 creating 347–351 custom colors in 353 deleting 358 improving printing of 676 in graph objects 572 masked objects 241 modifying 352 opening files with multicolored 675 printing 668–677 printing as a custom color 349 printing as separations 718 transposing colors in 354 graph axis, no values appear 818...
Page 835 graphs adjusting 545–551 categories 533 cell 532 changing style 572 column width, adjusting 536, 549 combining styles 574 copying and pasting data 542 creating 529 data series problems 817 decimal precision, setting 551 drop shadow, adding 568 editing data 543 entering data 531, 531–536 horizontal (x) axis 534 importing data 540–541...
Page 836 grouping objects 190 stacked objects 194 group-selection tool 17, 18, 96 using in graphs 578 guide objects 185–189 gutter size 484 Hairlines 325 halftone screen ruling 752 halftoning 649 hand tool 17, 18, 38 hanging punctuation 492, 498 Hard command 295 headline type 507 Hide Edges command 111 Hide Template command 140...
Page 837 imagesetters 59 Import Styles command 313, 389 importing artwork 609 graph designs 576 styles 389 importing and exporting artwork 599–626 text files 473–475, 602 Include Placed EPS files option 622 indentation 492 indexed-color bitmaps 633 Info palette 182 Intersect filter 251 Invert Colors command 293 Join command 119 JPEG 635...
Page 838 landscape (horizontal) orientation 755 Language option 513 languages specifying for hyphenation 513 specifying for spell checking 517 layers changing order of 405 choosing a selection color for 415 creating 398–399 deleting 407 displaying in Artwork view 416 hiding 411 locking 408–410 moving objects between 401–404 nonprinting 417 selecting 400...
Page 839 maximum with gradients 671 printer 752 line trap, creating 739 line weight 214, 324 lines arrowheads 333 dashed 329 drawing with the pen tool 84 wavy and zigzag 331 Link Blocks command 478 Location of Placed Art menu (in Attributes dialog box) 615 Lock command 196 locking objects 195...
Page 840 modifying 270 releasing 805 selecting 272 measure tool 17, 182 memory allocation, changing 799–800 memory, and printing 680 Merge filter 253 Minus Back filter 252 Minus Front filter 251 Misregistration 725 Misspelled Words list 516 miter join 327 miter limit 327, 804 miter line, problems with 804 monitor resolution 653 mouse pointer 16...
Page 841 newlink General Preferences Dialog Box 13 nonimageable area 53 Nonuniform Scaling option 215 Note text box 696 Object Mosaic filter 246 Offset option 759, 760 Offset Path filter 165 offset value 759 Open command 8, 607 open paths defined 79 ending 86 opening documents 8, 607 Outline filter 252...
Page 842 page size 755. See also artboard page tool 17, 67 paint copying attributes 335–338 setting attributes 281–283 paint bucket tool 17, 335, 338 Paint Style palette 279–280 adding colors to 284 saving colors in 284 selecting custom colors 301, 304, 305 selecting process colors 288 paint swatches 284–285 clearing 285...
Page 843 Pathfinder filters 250. See also individual ﬁlter names Pathfinder preferences 256 paths adjusting 105 blending 223 closed 79 closing 86 compound 250, 262, 264 curved 90 defined 79 erasing 83 filling 277 freehand 82 open 79 splitting 116 splitting to print complex shapes 680–683 stroking 277 tracing.
Page 844 384 transforming 385 PC Paintbrush file format (PCX) 645 file format 642–643 importing and exporting 601 reading. See the Adobe Illustrator Getting Started Guide pen tool 17, 18, 84–95 performance, improving. See the Adobe Illustrator Getting Started Guide Photoshop. See Adobe Photoshop...
Page 845 non-EPS files 609 plug-in filters 14, 29, 243 Plug-ins dialog box 12 preferences command 29 plug-ins toolbox 14 point of origin 199, 212 point size 444 pointer, changing 16 points 46 polygon plug-in tool 130 portrait (vertical) orientation 755 positive image 764 PostScript file format 638 importing and exporting 601...
Page 846 Projecting Cap 326 Publish and Subscribe 623–626 publishing text symbols 521 Punk and Bloat filter 236 QuickDraw printer, can’t print from 812 RAM with Pathfinder filters 250 RAM, optimizing use with Adobe Illustrator. See the Adobe Illustrator Getting Started Guide...
Page 847 Random option 163 rangecheck error 686 raster image 628 Rasterize command 243 rasterizing 628 rectangle tool 17, 126 rectangles 125–129 Redo command 27 reflect tool 17, 208 reflecting objects 208–211 registration marks 771 Release Mask command 805 Release Wrap command 489 Remove Redundant Points option 256 Repeat Transform command 201 Replace Fonts list 447...
Page 848 Reverse Trap option 732, 735 Revert to Saved command 28 RGB 706, 707 Riders file 689 right alignment 495 right reading 762 RLE. See Run Length Encoding Rotate option 206 rotate tool 17, 202 rotating objects 202–207 rotating the x and y axes 168 Roughen filter 231 Roughening objects 231 Round Cap option 326...
Page 849 Same Stroke Weight command 322 Saturate command 292 Save As command 9 Save command 9 saving documents in other file formats 620– Scale Line Weight option 215 Scale option 216 scale tool 17, 214 scaling objects 212–217 scatter graph 527, 560 scissors tool 17, 116 scratch area 55 screen angle 690...
Page 850 multiple objects 102 segments 98 text 422 unselected objects 103 selection tool 17, 18, 96 Send to Back command 173 separating custom colors as process colors 750 Separation Setup dialog box 742 separations color controlling space between 761 defined 699 printing 773 saving 773 setting options 742...
Page 851 522 smooth points 88, 109 Snap to Point option 152 Soft filter 296 spacing options 500, 503, 507 speed, improving. See the Adobe Illustrator Getting Started Guide spelling, checking 515–517 spiral plug-in tool 132 Split Long Paths option 680...
Page 852 streaking, in filled object 813 stroking defined 277 setting attributes 324 with a pattern 306 Style command 529 Subscribe command. See Publish and Subscribe subscripts, creating 458 subtracting values in fields 48 Suggested Corrections list 516 superscripts, creating 458 SWOP (standard web offset proofing) 711 system extensions, restarting without 778 System List option 446 Tab Ruler palette 503...
Page 853 third-party developers 31 TIFF 145, 249, 637 importing and exporting 601 Tile Full Pages option 49, 62 Tile Imageable Areas option 62 tiling 59, 61 Tint Reduction value 734 title bar 8 tool pointers 16 toolbox 14 tools. See individual tool names TOYO Color Finder-1050 316 tracing artwork 138 tracking 452...
Page 854 similar color densities 732 type 730 with tints 729 Trap command 732 Trim filter 253 Trim Marks filter 666–667, 741 troubleshooting 796–822 anchor points 801 anchor points jump 802 banding 806 blank pages 803 blends 806 center point 820 custom colors 809 drawing paths 810 error messages 779–795 filled object 813...
Page 855 twirl plug-in tool 235 type along a path 434–438 area type 419, 431 as graphic objects 469 choosing a font family 442 containers, linking and unlinking 477–483 deleting empty paths 439 entering 420–438 greeking 490 hyphenating 513 importing 469 in a rectangle 425, 426 in an object 431 indenting 492 moving along a path 436...
Page 856 unit of measure 46 unit values, converting 48 Unite filter 251, 683 units arithmetic, using 48 Unlink Blocks command 482 Unlock All command 196 Use Page Setup option 58 vector graphics 4–7, 627 bitmap images 243 converting into 243 vertical shift. See baseline shift viewing actual size 41 Artwork 34...
Page 857 World Wide Web. See Adobe Home Page x and y axes constraining 168 rotating 168 Zigzag filter 331 zoom tools 17, 18, 39 zooming 39–41...
Page 858 File and Edit menus File Edit Undo Open… Redo Close Save Copy Save As… Paste Revert to Saved Clear Place… Select All Import Styles… Select None Import Text… Paste In Front Document Setup… Paste In Back Separation Setup… Publishing Document Info… Show Clipboard Page Setup…...
Page 859 Arrange and View menus View Arrange Repeat Transform Preview Move… Artwork Preview Selection Bring To Front Send To Back Hide Template Transform Each… Show Rulers Group Hide Page Tiling Ungroup Hide Edges Hide Guides Lock Unlock All Zoom In Hide Zoom Out Show All Actual Size...
Page 860 Object menu Guides Object Make Paint Style… Custom Color… Release Pattern… Lock Gradient… Attributes… Masks Join… Make Average… Release Expand… Apply Knife Rasterize… Compound Paths Guides Make Masks Release Compound Paths Cropmarks Graphs Graphs Style… Data… Cropmarks Design… Make Column… Release Marker…...
Page 861 Font and Type menus Type Font Size Chicago Leading Courier Alignment Frutiger Tracking… Geneva Spacing… Helvetica Character… Helvetica Narrow Paragraph… Lucida Link Blocks Lucida Sans Unlink Blocks Minion Make Wrap Minion Expert Release Wrap Monaco Fit Headline Myriad MM Create Outlines New York Export…...
Page 862 Filter menu Create Filter Fill & Stroke for Mask Last Filter Object Mosaic… Colors Trim Marks Create Distort Ink Pen Distort Objects Free Distort… Other Punk and Bloat… Pathfinder Roughen… Select Scribble and Tweak… Stylize Twirl… Zig Zag… Colors Adjust Colors… Ink Pen Blend Front to Back Edit…...
Page 863 Filter menu, continued Select Objects Add Anchor Points Same Fill Color Cleanup… Same Paint Style Offset Path… Same Stroke Color Outline Path Same Stroke Weight Select Inverse Select Masks Pathfinder Select Stray Points Unite Intersect Stylize Exclude Minus Front Add Arrowheads… Minus Back Calligraphy…...
Page 864 Window menu Window New Window Hide Toolbox Show Layers Show Info Show Paint Style Show Gradient Show Character Show Paragraph Show Tab Ruler Show Align Show Plug-in Tools Show Control Palette...
Page 865 What’s New in Adobe Illustrator 6.0 Enhanced image support Integration with other Adobe products New tools and palettes New filters and commands Drag-and-drop support Built-in color separation Unit and value conversion in text boxes About ink pen effects...
Page 866 Adobe Illustrator 1, 88, 3, 5 and 6; TIFF; PostScript; EPS; the Adobe Portable Document Format (PDF); PICT; Adobe Photoshop 2.5 or later; and any ﬁle format supported by an Adobe Photoshop plug-in module. • Photoshop Filters. Adobe Photoshop- compatible ﬁlters can be applied to any...
Page 867 In addition, the complete Gallery Effects collection is included on the Deluxe Edition CD-ROM. • Rasterizing Objects. Anything created in Adobe Illustrator can be instantly “rasterized,” that is, turned into pixel- based artwork, at a speciﬁed resolution. • Colorizing 1-bit Images. The black...
Page 868 Integration with other Adobe products Adobe Illustrator 6.0 is integrated with the following products: • Adobe Fetch . Adobe Illustrator ﬁles ® can save previews for use in Adobe Fetch, a software utility used for cataloging those images. • Adobe Acrobat. Version 6.0 has the ability to open, edit and save ﬁles in...
Page 869 • The eyedropper tool can precisely sample pixel colors within images from any application. For example, you can sample colors from images that appear in an Adobe Illustrator document, in an Adobe Photoshop window, or on the desktop. • The Control palette shows the loca-...
Page 870 • The Align palette combines features of the Align and Distribute ﬁlters from the previous versions of Adobe Illus- trator. The new palette displays various options for aligning and placing objects along the axis you specify. • The Shortcuts palette displays...
Page 871 For example, a pattern applied to a path can be painted, resized, and transformed just as can other Adobe Illustrator artwork. • The Ink Pen commands let you create and modify special patterns, called hatch styles, and apply them to ﬁlled shapes, giving the appearance of an ink pen drawing.
Page 872 • The Zig Zag ﬁlter adds anchor points to an existing path and offsets these points to create either a wavy or jagged line effect. • The Transform Each ﬁlter combines Move Each, Rotate Each, and Scale Each into one ﬁlter, accessed now from the Arrange menu.
Page 873: Drag-And-Drop Support
Drag-and-drop support You can move copies of objects in Adobe Illustrator 6.0 by dragging them from one document window to another, or between a document window and the desktop. You can drag and drop objects between Adobe Illustrator and any application that supports Macintosh Drag Manager, such asAdobe Photoshop or the Scrapbook.
Page 874 Built-in color separation You can now print color separations from within Adobe Illustrator. The func- tionality of Adobe Separator , the color ™ separation utility that shipped with previous versions of the program, is incorporated into the Separation Setup dialog box in Illustrator.
Page 875 Unit and value conversion in text boxes You can enter values using any unit of measure, or any arithmetic expression, into a numeric text box. Version 6.0 automatically calculates the value of arithmetic expressions, and converts all units to the preset unit. For example, if you enter “1 in + 1 cm”...
Page 876 The hatch (or hatch style) is the design element of the ink pen effect. The partic- ular options associated with a hatch are called hatch settings. You can select from hatch settings supplied with the Adobe Illustrator program using the Ink Pen Effects dialog box.
Page 877 You can also create your own ink pen designs by drawing or selecting an object, naming it as a hatch in the Ink Pen Edit dialog box, and then applying it to artwork using the Ink Pen Effects dialog box.
Page 878 Applying an ink pen effect To apply an ink pen effect to a selected object, you choose a hatch setting and its associated hatch style, modify the settings if desired, and apply them through the Ink Pen Effects dialog box. The Ink Pen Effects dialog box lets you control the hatch’s spacing or number of elements (called density), its uniformity...
Page 879 Original hatch High value value Density Dispersion Rotation Scale Thickness Hatch concentration and direction...
Page 880 To fill an object with an existing ink pen hatch: Select the object you want to ﬁll with a hatch. Choose Filter Ink Pen Effects. Select a hatch setting, choosing from the following options: • Choose a setting from the Settings pop-up menu to load a set of predeﬁned options.
Page 881 • None deselects the option. • Constant applies the effect evenly. If you select this option, no range is available. • Linear increases the effect progres- sively. • Reﬂect varies the effect from the center of the object outward. • Symmetric varies the effect propor- tionately and evenly, for example, if applying hatches to round or cylindrical shapes.
Page 882 If you chose an option in step 6, enter an angle along which to apply the effect using the dial or by entering a value from 0 to 300 in the text boxes. Then drag the slider or enter values in the text boxes to specify a range, as follows: •...
Page 883 Choose from the following Paint Style options for the hatch: • To select another design element for the hatch, choose from the Hatch Style menu. The hatch you select uses the current settings. • To specify a color for the hatch, choose from the Hatch Color pop-up menu: Original to retain the current hatch ﬁll;...
Page 884 • To specify whether the hatch fades across the object, choose from the Fade pop-up menu: None for no fade; To White to fade the hatch to white; To Black to fade the hatch to black; or Use Gradient if the object is ﬁlled with a gradient and you want that gradient to deﬁne the fade’s direction and colors.
Page 885 Creating and saving hatches You can create and save your own hatches or modify existing hatches and save them for reuse. Creating a hatch is similar to creating a tile for a pattern. To save hatches, you use either the Ink Pen Edit or Ink Pen Effects dialog box.
Page 886 To create a hatch: Draw the objects you want to convert to a hatch design for the ink pen effect. Select the artwork. Choose Filter Ink Pen Edit. Click New. Enter a name for the new ink pen hatch. Click OK. To improve the program’s perfor- mance, deselect the Preview option to turn off the preview of the hatch.
Page 887 To modify an existing hatch: Make sure that nothing is selected in the artwork. Choose Filter Ink Pen Edit. Choose one of two options: • Choose a hatch from the Hatch pop- up menu. • Click Import, locate the hatch you want to modify, and click Open.
Page 888 Choose one of two options: • To save the new hatch in the document, click OK again. • To save the hatch for reuse in other documents, click Save As. Locate the ﬁle in which you want to save it as or specify a new ﬁlename;...
Page 889 To save hatch settings: Choose Filter Ink Pen Edit or Effects. Specify the hatch settings and any style options you want to save. Choose from these options: • To save the settings in the document, click New. Enter a new name for the settings and click OK.
Page 890 To delete an existing hatch: Choose Filter Ink Pen Edit. Choose a hatch from the Hatch pop-up menu. Click Delete. Click OK.
Page 891 Adobe Systems Incorporated. Adobe Systems Incorporated assumes no responsibility or liability for any errors or inaccuracies that may appear in this book.
Page 892 1585 Charleston Road, Mountain View, CA 94039-7900, Adobe Systems Europe Limited, Adobe House, Edinburgh EH11 4DU, Scotland, United Kingdom Adobe Systems Co., Ltd., Yebisu Garden Place Tower, 4-20-3 Ebisu, Shibuya-ku, Tokyo 150, Japan For defense agencies: Restricted Rights Legend. Use,...
Page 893: How To Use This Guide
How to use this guide In the toolbar Page Back/Forward Go Back/Forward Click to move to your previous location. On the page Index Contents Parent topic Click to jump to Click to jump to opening screen main topic. of this guide. Click any Red text to jump to informa-...