Adobe or CS3-Freehand Guide

8/4/2019 Adobe or CS3-Freehand Guide

1/48

AdobeIllustrAtor cs3

FreehAnd to IllustrAtor MIgrAtIon guIde


2/48

2007 Adobe Systems Incorporated. All rights reserved.

Macromedia FreeHand to Adobe Illustrator CS3 Migration Guide

I this guide is distributed with sotware that includes an end user license agreement, this guide, as well as the sotware described in it, is urnished under

license and may be used or copied only in accordance with the terms o such license. Except as permitted by any such license, no part o this guide may bereproduced, stored in a retrieval system, or transmitted, in any orm or by any means, electronic, mechanical, recording, or otherwise, without the prior

written permission o Adobe Systems Incorporated. Please note that the content in this guide is protected under copyright law even i it is not distributed

with sotware that includes an end user license agreement.

he content o this guide is urnished or inormational use only, is subject to change without notice, and should not be construed as a commitment by

Adobe Systems Incorporated. Adobe Systems Incorporated assumes no responsibility or liability or any errors or inaccuracies that may appear in the

inormational content contained in this guide.

Please remember that existing artwork or images that you may want to include in your project may be protected under copyright law. he unauthorized

incorporation o such material into your new work could be a violation o the rights o the copyright owner. Please be sure to obtain any permission required

rom the copyright owner.

Any reerences to company names in sample templates are or demonstration purposes only and are not intended to reer to any actual organization.

Adobe, the Adobe logo, Acrobat, Creative Suite, Flash, Illustrator, InDesign, Photoshop, PostScript, Reader, and Version Cue are either registered trademarks

or trademarks o Adobe Systems Incorporated in the United States and/or other countries.

Mac and Mac OS are trademarks o Apple Inc., registered in the United States and other countries. Openype and Windows are either registered

trademarks or trademarks o Microsot Corporation in the United States and/or other countries. All other trademarks are the property o their respective

owners.

Adobe Systems Incorporated, 345 Park Avenue, San Jose, Caliornia 95110-2704, USA.

Notice to U.S. Government End Users. he Sotware and Documentation are Commercial Items, as that term is deined at 48 C.F.R. 2.101, consisting

o Commercial Computer Sotware and Commercial Computer Sotware Documentation, as such terms are used in 48 C.F.R. 12.212 or 48 C.F.R.

227.7202, as applicable. Consistent with 48 C.F.R. 12.212 or 48 C.F.R. 227.7202-1 through 227.7202-4, as applicable, the Commercial Computer Sotware

and Commercial Computer Sotware Documentation are being licensed to U.S. Government end users (a) only as Commercial Items and (b) with only

those rights as are granted to all other end users pursuant to the terms and conditions herein. Unpublished-rights reserved under the copyright laws o the

United States. For U.S. Government End Users, Adobe agrees to comply with all applicable equal opportunity laws including, i appropriate, the provisions

o Executive Order 11246, as amended, Section 402 o the Vietnam Era Veterans Readjustment Assistance Act o 1974 (38 USC 4212), and Sect ion 503 o

the Rehabilitation Act o 1973, as amended, and the regulations at 41 CFR Parts 60-1 through 60-60, 60-250, and 60-741. he airmative action clause and

regulations contained in the preceding sentence shall be incorporated by reerence.

Part number: XXXXXXXX


3/48

Contents

Introduction ................................................ 4

The purpose o this guide and how it can be useul or FreeHand users.

Key Terms .................................................. 6

Learn how Illustrator terms compare with those in FreeHand.

Converting Macromedia FreeHand Documents................ 9

Discover how to open your FreeHand documents in Illustrator.

The Illustrator Workspace...................................10

Take a tour o the Illustrator CS3 workspace, which oers robust new

creativity tools, a context-sensitive Control panel, and custom workspaces

or personal preerences or project requirements.

Setting up a New Document ................................15

Learn how to best prepare your artboard or your illustrations.

Working with Graphics .....................................20

See how easy it is to create predictable gradients, patterns, and elaborate

eects.

Working with Text..........................................31

Take your text to a new level with extensive and powerul text tools,

including Character and Paragraph panels and styles, exible OpenType

onts, support or text on a path, and more.

Saving and Exporting Files..................................35

Save and export your artwork to many standard fle ormats such as PDF, SVG,

and Flash or print, web and interactive, and mobile and motion designs.

Printing ...................................................40

Print your artwork reliably, thanks to a streamlined print interace and such

eatures as support or transparency attening and Adobe PDF output.

Keyboard Shortcuts ........................................44

A list o some o the most useul Illustrator CS3 keyboard shortcuts.

Additional Resources.......................................48

Inormation on many useul resources or anyone who wants to learn

more about Illustrator eatures, tools, and techniques.


4/48

Fha Ia Miai gi

Welcome, and thank you or having made the move or thinking about moving

rom Macromedia FreeHand to Adobe Illustrator CS3.

FreeHand is no longer being developed to be compatible with new operatingsystems and hardware, or to provide integration with other key design applica-

tions, such as Adobe Photoshop CS3 and Adobe InDesign CS3. Your move

to Illustrator is an important step to ensure that you can take advantage o new

technologies and capabilities as they become available.

Tis guide explains the main dierences between the two programs and

introduces you to some o the eatures that make Illustrator the industry-

standard tool or creating vector graphics or any media. It was written speci-

cally or FreeHand users like you, to help you transition to Illustrator as quickly

and as smoothly as possible.

Your experience using FreeHand will give you a good oundation or moving

to Illustrator, and the import o FreeHand les has been updated to support

FreeHand MX. I you have been using Adobe Photoshop or Adobe InDesign,

your move will be even easier, because all Adobe graphics applications share

common commands, panels, and keyboard shortcuts.

Illustrator is tightly integrated with all components o Adobe Creative Suite 3,

and now with Adobe Bridge CS3, it has become easier than ever to manage

and organize les. In Creative Suite 3, the Adobe standard interace has been

updated to be more ecient, and is consistent between Photoshop CS3,

InDesign CS3, Illustrator CS3, and Adobe Flash CS3 Proessional.

Te Live race and Live Paint eatures in Illustrator make it easier to get your

sketches onto your artboard as vector graphics, and Live Color presents a new

and exciting environment or exploring color harmonies and interactivelyapplying color to any selection o objects. Integration with Photoshop, including

the ability to choose layer comps during import and support or Photoshop

lters and eects, opens new horizons or vector graphics. Illustrator also gives

you access to many Openype eatures to help you create beautiul typography.

Illustrator CS3 integrates beautiully with Flash CS3 Proessional. Now you

can copy/paste or import your Illustrator artwork into Flash, condent that the

critical elements in your Illustrator artwork are maintained in Flash.We hope this guide gives you the the basics to explore Illustrator CS3, and

makes your transition rom FreeHand a little bit easier.

Introduction


5/48

urenergIi

t k i v api

g a y j wi

j v appaa pi

ca piia

apay

u amiia

s ai ypapy

wi y pp optyp a

Mak aa

a pia


6/48

Fha Ia Miai gi

Key Terms

Pasteboard Scratch area

What you know as the pasteboard in FreeHand is called the scratch area in

Illustrator. The scratch area is the area outside the artboard that extends tothe edge o a 227-inch square window. The scratch area represents the space

where you can create, edit, and store elements o artwork beore moving

them onto the artboard. Objects placed on the scratch area are visible on-

screen, but they do not print.

Pages Artboard

In FreeHand, you can set up multiple pages within a single document;

Illustrator considers the document and its artboard as one illustration. To out-put specifc areas o your illustration, use the Page tool or the new Crop Area

tool, or print overlapping tiles.

Object Properties Panel Appearance panel

In FreeHand, the Object Properties panel is a context-sensitive area where you

access ormatting options or any selected object. In Illustrator, to achieve the

same unction, you use both the Appearance panel and the context-sensitive

Control panel. The Appearance panel lets you view and adjust the appearanceo attributes or any object, group, or layer. Fills and strokes are listed in stack-

ing order in the panel; objects in Illustrator can have multiple flls and strokes.

Eects are listed rom top to bottom in the order in which they are applied to

the artwork. To display the panel, choose Window > Appearance.

Import Place

In Illustrator, you can place both graphic and text fles; placed graphics can

be either linked or embedded into the document and are accessible rom

the Links panel. Integration across Adobe Creative Suite allows you, or ex-

ample, to choose layers or layer comps when you place Photoshop fles into

Illustrator.

Because FreeHand and Illustrator are both vector drawing programs, they share

many common tools and commands.

Many o the terms used in the Illustrator menus, dialog boxes, and panels areidentical to those used in FreeHand. For example, tools and layers are essentially

the same in both programs. In some cases, FreeHand and Illustrator use

FreeHand Term Illustrator Term

Y ai j i

Appaa pa.


7/48

Ky tm

Transorm Handles Bounding box

When you select objects with the Selection tool, Illustrator displays a bound-

ing box around them. The bounding box lets you move, rotate, duplicate,and scale objects easily by dragging the object or a handle (one o the hol-

low squares along the bounding box). To view the bounding box, choose

View > Show Bounding Box.

Keyline View Outline

By deault, Illustrator displays all artwork in color. However, you can improve

redraw and perormance by viewing artwork as outlines (or paths). To view

artwork as outlines, choose View > Outline. Choose View > Preview to viewartwork in color.

Extrude Tool 3D eects

3D eects enable you to create three-dimensional objects rom two-dimen-

sional artwork or text. You can control the appearance o three-dimensional

objects with lighting, shading, rotation, and other properties.

Live Vector Eects EectsEects in Illustrator are live, which means that you can modiy them even

ater they are applied. You can apply eects to any object and then modiy

its vectors or the eects options, or remove the eect using the Appearance

panel. Once you apply an eect to an object, the Appearance panel lists the

eect and enables you to edit, move, duplicate, or delete it, or save it as part

o a graphic style.

Edit In External Editor Edit Original

Illustrator is highly integrated with Photoshop. To open a linked bitmap fle in

Photoshop, select the graphic and choose Edit Original in the Control panel

or Links panel, or rom the Edit menu.

dierent terms or the same concept. For example, in FreeHand you work with

pages, while in Illustrator you work with an artboard. Once you understand the

dierence in terms, you are likely to nd the concepts quite similar. Here are

some key terms that dier between FreeHand and Illustrator:

ex, vv, a a awk a yp

a mpx -imia j

i 3d i Ia.

t i x i Ia p y

appy amai j.


8/48

Fha Ia Miai gi

K E Y T E R M S

Graphic Hose Tool Symbol Sprayer

The symbolism tools let you create and modiy sets o symbol instances.

You create a symbol set using the Symbol Sprayer tool. You can then use the

other symbolism tools to change the density, color, location, size, rotation,

transparency, and style o the instances in the set. You are not limited to a

particular set o symbols; you can create and use as many as you want. All the

symbols you create are available in the Symbols panel.

Output Area Tool Crop Area tool

By deault, Illustrator crops artwork to the boundaries o the artboard. How-

ever, using the Crop Area tool, you can interactively defne crop areas or

print or export to other ormats (video or web, or example). The option you

choose sets the position o crop marks, rulers, and video- and title-sae areas

on your document and defnes the boundaries o the artwork to be printed

or exported. These boundaries are represented by a dashed line in the pre-

view area o the Print dialog box.

Eraser Eraser tool

Quickly remove areas o artwork as easily as you erase pixels in Photoshop

by stroking with your mouse or stylus over any shape or set o shapes. New

paths will automatically be created along the edges o your erased stroke

with points laid down economically, but still preserving the smoothness o

your erasure.

Styles Graphic styles

A graphic style is a set o reusable appearance attributes. Graphic styles allow

you to quickly change the look o an object. For example, you can change its

fll and stroke color, alter its transparency, and apply eects in one step. All

the changes you apply with graphic styles are completely reversible.

Mixer Color panel

You use the Color panel to apply color to an objects fll and stroke, and also

to edit and mix colors. The Color panel can display color values using di-

erent color models. By deault, only the most commonly used options arevisible in the Color panel. To display the panel, choose Window > Color. To

change the color model, choose Grayscale, RGB, HSB, CMYK, or Web Sae RGB

rom the panel menu.

FreeHand Term Illustrator Term

t c pa

ti iia ia wa a i

ymim i Ia.


9/48

cvi Mamia Fha m

C O N V E R T I N G M A C R O M E D I A F R E E H A N D D O C U M E N T S

knowhow rom Adobe Labs

knowhow rom Adobe Labs provides single-click, contextual access or viewing

tool tips, keyboard hints, and eature help. Now you can see all the shortcuts

that you never had time to learn, and discover ways o working with I llustrator

that you didnt know were possible.

You can also access community-generated content created by Illustrator experts

on the web, pulled rom a user account on del.icio.us.Choose Window > Adobe Labs > knowhow and see the knowhow panel pop

onto your workspace. Click on any tool and look to knowhow to see a description,

keyboard hints, and links directly into Adobe Help or that ver y tool. For help with a

panel or topic, simply type a search term in knowhows search feld.

Note: knowhow is available only in English versions o Illustrator CS3.

Converting MacromediaFreeHand documents

Illustrator can open FreeHand les up to version 10 and FreeHand MX (11).

FreeHand allows you to import both CMYK and RGB image les. I you open

a FreeHand document that contains both CMYK and RGB images, youll beprompted to choose a specic color space (see Setting up a New Document on

page 15).

I the original FreeHand document contains more than one page, these will have

separate crop areas in the Illustrator document; this is useul to print individual

FreeHand pages, since Illustrator CS3 allows printing o individual crop areas.

You also have the option import only a specic page rom a FreeHand le.

Other improved import eatures include:Import o FreeHand swatches, dened in the Swatches palette in FreeHand,

as swatches in Illustrator CS3.

Import o FreeHand symbols as symbols in Illustrator CS3.

Import o FreeHand raster eectsdrop shadow, basic and eather transpar-

encyas live eects in Illustrator CS3.

Import o FreeHand Envelopes as Envelope eects in Illustrator CS3.

Import o FreeHand custom guides as Illustrator CS3 guides.

Te ability to outline text upon import so that text appearance in FreeHand

is preserved in Illustrator CS3.

Proper positioning o FreeHand text, including text alignment, text wrap,

vertical text, and text inset, upon import into Illustrator CS3.

Ia a wk i i cMYK rgb

m. Y wi pmp

w y p a Fha

m a ai j a

cMYK a rgb m.


10/48

10 Fha Ia Miai gi

The IllustratorWorkspace

Control panel

Tools panel

Illustrator shares the same user interace with Photoshop, InDesign, and Flash

CS3, and its new deault panel arrangement, including the single-column

toolbar at the le, makes it easier to access the tools you need. You can dock

panels in your avorite conguration, pull them out to oat ree anywhere onyour screen, and collapse them to an icon view.

Illustration window

Panels

Hyperlink to access the ull pane

Status bar

Hidden tools called outrom the tools panel

Hidden tools torn oo the tools panel

Menus Jump to Adobe Bridge

The Illustrator CS3 workspace Expand/Collapse panels


11/48

t Ia Wkpa 11

Te basic workspace in Illustrator (Window > Workspace > [Basic]) consists o

an illustration window where you draw and lay out your artwork, a ools panel

that holds the tools or drawing and editing artwork, and panels to help you

monitor and modiy your artwork.

Te status bar (at the bottom le edge o the illustration window) displays

the current zoom level as well as the current tool, date and time, number o

undos and redos available, document color prole, or status o a managed le

(Version Cue).

The Tools panel

You use the tools in the ools panel to create, select, and manipulate objectsin Illustrator. You can congure the ools in double or single rows, or set as a

double- or single-row layout by clicking on the double arrows at the top o the

panel. Some tools have additional tools beneath them (hidden tools). A small

triangle at the lower right corner o the tool indicates that there are hidden tools.

You can tear o hidden tools into separate panels to have them readily avail-

able. o tear o a panel, click and hold the tool, and then drag your cursor to

Illustrator tools

The frst time you start Illustrator, the Tools panel appears at the let side

o the screen. You can move the Tools panel by dragging its title bar. You

can also show or hide the Tools panel by choosing Window > Tools.

Selection tools

Type tools

Drawing tools

Brush tool

Reshaping tools

Symbolism / graph tools

Advanced painting tools

Blend tool

Crop Area and Eraser tools

Move and zoom tools

Color

Screen modes

About the Selection tools

In FreeHand, you use the Pointer tool to select bothobjects and single points; with the Subselect tool, you

can modiy curves and objects in groups. In I llustrator,

the Selection tool lets you select objects or groups;

the Direct Selection tool lets you modiy objects or

groups and select multiple single points on a path. Use

the Lasso tool to select multiple points by making a

ree-orm selection.


12/48

12 Fha Ia Miai gi

T H E I L L U S T R A T O R W O R K S P A C E

the right and release it at the edge o the pop-up tool panel. Te name o the tool

and its keyboard shortcut appear when you hold the pointer over the tool.

Where are tools such as 3D Rotation, Extrude, and Fisheye lens?In Illustrator, you apply 3D eects using the Eect menu (see page 30) or by

using Object > Envelope Distort to warp objects based on a shape you choose.

A pa, ii c pa, av

a pp-p m, m wi y a ,

a a vaiy ai. t p

pp-p m, ik i a p

i pa.

Pa a ap i a i

viw pimiz pa avaia

y .

t x-iiv c pa iv y

immia a m mai pi.The Control panel

Te Control panel is context sensitive and oers quick access to optionsrelated to the objects you select. For example, i you select a vector object,

many controls you will need to change its attributes appear there, including

commands or precise positioning on the artboard. Use the Control panel as

your primary tool or editing your artwork.

Te Control panel also provides ast access to panels, which, in some cases, oer

additional options. Click a blue hyperlink to open another panel or easy access.

o congure the Control panel, choose options rom the panels pop-up menu,also called the panel menu.

In Illustrator CS3, you can now access anchor point controls, selection tools,

clipping masks, envelope distortions, and more, all exposed contextually within

the Control panel.

Panels

You can access all panels in Illustrator rom the Window menu; some can also

be activated by clicking the blue hyperlinks in the Control panel.

A panel can be grouped with another by dragging its tab onto the other panel.

o dock panels so that they move together, drag a panels tab to the bottom o

another panel until you see a blue line. When the panels are grouped or stacked

in panes, either on the le or the right o your screen, they can be collapsed into

an icon view to urther optimize the working space. Once you have organized

the panels, you can save your setup as a Workspace by choosing Window >Workspace > Save Workspace.


13/48

t Ia Wkpa 13


Tip: To print a list o Illustrator shortcuts,

click Export Text in the Keyboard

Shortcuts dialog box (Edit > Keyboard

Shortcuts).

Context-sensitive menus

You can access many commands using context-sensitive menus. Context-sensi-

tive menus display commands that are relevant to the active tool, selection, orpanel. o display a context-sensitive menu, right-click in the document window

or panel (or Control-click on Mac OS).

W y i-ik ( c-ik Ma

os) x () a pa (i),

a m aw y a a xa

mma.Common panel actions

A. Click to collapse/expand panel.B. Click to collapse/expand panel.C. Click to close panel.D. Show pop-up menu or the panel.E. Creates a new iteration o the panels subject,

such as an action, brush, style, layer, or swatch.Option-click (Mac OS) or Alt-click (Windows)to set options (except action and brush). Dragonto button to duplicate action, brush, style,ll/stroke (appearance), layer, or swatch.

F. Deletes action, brush, layer, or swatch; Option-click (Mac OS) or Alt-click (Windows) to deletewithout conrmation (except or Variablepanel).

o pa Shit+Return/Enter to apply value and keep text

box active. Command/Ctrl+~ (tilde) to highlight last-used

text box in panel. Command/Ctrl+click to select noncontiguous

actions, brushes, layers (same level only), links,styles, or swatches.

Tab to show/hide panels. Shit+Tab to show/hide all panels except the

Tools panel.

CB

E F

A

D

Keyboard shortcutsIllustrator lets you assign keyboard shortcuts or many operations. Te

Keyboard Shortcuts dialog box serves as a shortcut editor, and includes all

commands that support shortcuts, some o which arent in the deault shortcut

set. Shortcuts or tools are also shown in the knowhow palette. For a list o

keyboard shortcuts, see page 44.

Preerences

Beore you begin creating artwork with Illustrator, amiliarize yoursel with the

programs deault settingsspecically the options available in the Preerences

dialog box (choose Illustrator > Preerences > General in Mac OS or choose

Edit > Preerences > General in Windows). You can customize these settings

to suit your needs, creating a work environment thats both productive and

comortable. As you look through the panes in the Preerences dialog box, youll

see that many o the options are identical to those in FreeHand. Youll also ndseveral unamiliar but useul options, such as the option to use the clipboard to

transer selections between an Illustrator le and other Adobe applications.

Te clipboard is particularly useul or moving paths rom one application

to another because paths are copied to the clipboard as PostScript language

descriptions. Artwork copied to the clipboard is pasted in PIC ormat in


14/48

1 Fha Ia Miai gi


most applications. However, some applications, such as InDesign, accept PDF

or AICB (Adobe Illustrator Clipboard) data. PDF preserves transparency;

AICB lets you speciy whether you want to preserve the overall appearance

o the selection or copy the selection as a set o paths (which can be useul inPhotoshop and InDesign).

You may also want set the preerences or how anchors and handles appear

onscreen (choose Illustrator > Preerences > Selection & Anchor Display

in Mac OS or choose Edit > Preerences > Selection & Anchor Display in

Windows).

Color management

Te Adobe color management system helps you maintain the appearance o

colors as you import images, edit or transer documents between Adobe appli-

cations, and output your nished compositions.

By deault, color management is turned on in Adobe Creative Suite 3 compo-

nents. You can synchronize color settings to provide consistent display or RGB

and CMYK colors no matter which application you view them in.

o change color settings, choose Edit > Color Settings. o ensure that your

Adobe Creative Suite components are synchronized using the same color

settings or consistent color management, choose Edit > Creative Suite Color

Settings in Adobe Bridge and select an appropriate prole.

For more inormation about color management, see Illustrator Help.

Fi hai & cipa p y

w py y awk

appiai.


15/48

si p a nw dm 1

Setting up a NewDocument

An Illustrator document consists o one single-page artboard that can be up to

227 square inches.

When you start Illustrator, the Welcome screen lets you access your recent

documents or choose a new type o document or your choice o media. I

youre working on a video project, choose the Video And Film prole and select

a size such as NSC DV. Your color mode will be set to RGB and your artboard

will automatically show the ormats dimensions with guides or video and title-

sae areas. I youre working on a web project, choose a New Document Prole

or the web to automatically set raster resolution to 72ppi and color to RGB.Print proles deault to CMYK color and oer a range o popular artboard

setups including preset raster-eects resolutions. You can also save your own

custom proles that speciy setup parameters such as artboard dimensions,

swatches, brushes, styles, and color spaces.

o create a new document, you can also choose File > New and choose a New

Document Prole depending on the intended use o your illustration. As noted

above, the New Document Prole will correctly set dimensions, units, color

mode and raster eects parameters based on the prole selected. Any o thesesettings can be modied to suit your needs.

You can change raster eects settings at any time by choosing Eects >

Document Raster Eects settings.

W y a a w m, y a

mi iz, i mam, a

iai aa. Y wi a

pmp a m.

t Ia Wm y

ai pi a w pj.


16/48

1 Fha Ia Miai gi

S E T T I N G U P A N E W D O C U M E N T

o change the color mode, choose File > Document Color Mode (you cant

change the color mode in the Document Setup dialog box).

Wheres the Document panel?

In FreeHand, you use the Document panel to target and select pages and to

choose page dimensions, orientation, bleed settings, and printer resolution.

In Illustrator, choose File > Document Setup to change the attributes o the

artboard. You use the Document Setup dialog box to choose settings or type

and transparency at the document level. You can also dene the dictionary used

or spell-checking and hyphenation, the position o superscripts, the scale or

small caps, or how to copy transparency eects over to the clipboard or usewithin Illustrator or in other applications.

In FreeHand, you determine the Bleed Area in the Document panel; in

Illustrator, the Bleed area is assigned in the Print dialog box.

Crop Area (i it has been set)Printable area

Nonprintable area (printer margins)

Edge o the printed page

Artboard

Scratch area

The Illustrator document

The artboard represents the entire

area that can contain printable art-

work. The artboards dimensions

may not match the current pagesize. For example, your artboard may

be 10x20 inches, while your print

settings speciy 8-1/2x11-inch paper.

You can view the page boundaries

in relation to the artboard by show-

ing page tiling (View > Show Page

Tiling). When page tiling is on, the

printable and nonprintable areas are

represented by a series o solid and

dotted lines. You can move the print-

able area across the artboard by us-

ing the Page tool.

The scratch area is the area outside

o the artboard that extends to the

edge o the 227-square inch win-

dow. The scratch area represents a

space on which you can create, edit,

and store elements o artwork be-ore moving them onto the artboard.

Objects placed onto the scratch area

are visible onscreen, but they do not

print.

Y a a m p a ay

im y i Fi > dm sp.


17/48

si p a nw dm 1

Document templates

You can use templates to create new documents that share common settings and

design elements. For example, i you need to design a series o business cards

with a similar look and eel, you can create a template with the desired artboard

size, view settings (such as guides), and print options. Te template can also

contain symbols or common design elements (such as logos) and specic sets

o color swatches, brushes, and graphic styles.

Illustrator comes with over 200 proessionally designed templates, including

templates or letterhead, business cards, envelopes, brochures, labels, certicates,

postcards, greeting cards, and websites.

You can save your artwork in Adobe Illustrator emplate (AI) ormat to reuse

or share with others. When you select a template using the New From emplate

command, Illustrator creates a new document with identical content to the

template, but leaves the original template le untouched.

tw may mpa i wi

Ia cs3. Y a av ay i

ay a a mpa y i Fi > sav

A tmpa.

t i Ia m (p) a

mpa (m) y kw yp

y p i.



18/48

1 Fha Ia Miai gi


How do I set up measurement units?

In Illustrator, there are several ways to select units o measurement:

In the Preerences dialog box, choose Units & Display Perormance and

select a unit o measurement. You can also choose dierent units or Stroke

and ype, which are typically measured in points.

Choose the global measurement unit when you create a new document. You

can always change the unit o measurement later by using the Document

Setup dialog box.

Override the deault units by entering a value in the Control panel. For

example, ollow the value by any o the these abbreviations: inch, inches, in,

millimeters, millimetres, mm, Qs (one Q equals 0.25 millimeter), centime-

ters, centimetres, cm, points, p, pt, picas, pc, pixel, pixels, and px.

Using Guides and grids

Guides help you align text and graphic objects. You can create ruler guides

(straight vertical or horizontal lines) and guide objects (vector objects that you

convert to guides). You can choose between two guide stylesdots and linesand you can change the color o guides by using either predened grid colors or

colors you select using a color picker. By deault, guides are unlocked, and can

be moved, modied, or deleted. Guides can be locked in place by choosing View

> Guides > Lock Guides.

When you choose View > Show Grid, a grid appears behind your artwork in the

illustration window. o change the spacing between gridlines, color o the grid-

lines, or grid style, choose Illustrator > Preerences > Guides & Grid (Mac OS) or

Edit > Preerences > Guides & Grid (Windows). Grids and guides do not print.

Where is the Guides Layer?

In FreeHand, there is a deault layer called Guides that allows you to move

guides over or under the artwork. In Illustrator, guides belong to the layer on

which they were created; to emulate FreeHands behavior, create a layer and

name it Guides. You can add guides to that layer, turn the layer on or o, and

move it over or under the layers o your artwork.

Tip: To emulate the snapping eature

in FreeHand, activate Smart Guides in

Illustrator by choosing View > Smart

Guides. Smart Guides are temporary

snap-to guides that help you create,

align, edit, and transorm objects relative

to other objects.

Tip: Right-click (or Control-click in

Mac OS) in the ruler to open a menu

rom which you can select the unit o

measurement.

Tip: You can perorm simple math in

any box that accepts numeric values

using a single mathematical operator,

such as + (addition), - (substraction),

x (multiplication), / (division), or %

(percent).

ui & dipay Pma p

y y mam ym.


19/48


Using layers

When creating complex artwork, its a challenge to keep track o all the items

in your document window. Small items get hidden under larger items, and

selecting artwork becomes dicult. Layers provide a way to manage all the

items that make up your artwork. Tink o layers as clear olders that contain

artwork. I you reshufe the olders, you change the stacking order o the items

in your artwork. You can move items between olders and create subolders. o

display the Layers panel, choose Window > Layers.

Te structure o layers in your document can be as simple or complex as you

want it to be. By deault, all items are organized in a single layer. However, you

can create new layers and move items into them, or move elements rom onelayer to another. Te Layers panel provides an easy way to select, hide, lock,

and change the appearance attributes o artwork. You can even create template

layers, which you can use to trace artwork, or exchange layers with Photoshop.

By deault, Illustrator assigns a unique color to each layer in the Layers panel.

Te color appears in the layers selection column when one or more objects

within the layer are selected, and also appears in the selected objects selection

column. In addition, the same color appears in the document window in thebounding box, path, anchor points, and center point o the selected object. You

can use this color to quickly locate an objects corresponding layer in the Layers

panel, and you can change this layer color to suit your needs.

When a layer or an object contains other layers or objects, a triangle appears to

the le o the items name in the Layers panel. Click the triangle to show or hide

the contents. When a layer or an object is selected, a colored square appears

at the right edge o the itemss name in the Layers panel; to move the selected

item to another layer or change its stacking order, drag the colored square to thedesired layer.

t lay pa

Layer

Sublayer

Toggle layer visibility

Targeted layer

Indicates selected art (drag to move to another layer)

Layer color code

Lock/Unlock layer


20/48

20 Fha Ia Miai gi

Working with Graphics

u awi i Ia a

v api.

Drawing

Drawing in Illustrator is very similar to drawing in FreeHand; you use the Pen,

Paintbrush, and Pencil tools to draw vector graphics in Illustrator. You can also

draw basic geometric shapes by using tools such as the Rectangle, Ellipse, and

Polygon tools.

Using the Pen tool

Te Pen tool is the principal tool or drawing straight lines, Bzier curves,

and complex shapes. In addition to its expected unction, the Pen tool also

perorms the actions o the ollowing three related tools:

Te Add Anchor Point tool adds anchor points to a path (or use the Pen

tool on a segment o a selected path).

Te Remove Anchor Point tool removes anchor points (or use the Pen

tool on existing points o a selected path).

Te Convert Anchor Point tool converts a corner point to a smooth

point or vice versa (or press Option or Alt while using the Pen tool).

You can also nd many Pen tool options in the Control panel, including controls

or removing, connecting, and cutting paths, as well as the convert anchor point

options.

Selecting and modiying paths and anchor points

In Illustrator, to select entire paths (with all anchor points selected) you use

the Selection tool . o select individual anchor points, you can also use theDirect Selection tool or the Lasso tool ; you can then move and modiy

anchor points. When you run your cursor over any anchor point, causing it to

enlarge, you can easily see and select it. In FreeHand, selected anchor points are

indicated by a hollow square; in Illustrator, selected anchor points are indicated

by a lled square.

o align and distribute points, just as you would with objects, make a selection

with the Direct Selection tool, and use the alignment controls in the Controlpanel (or the Align panel).

Tip: While using the Polygon or Star tool,

press the Up Arrow and Down Arrow keys

to add and remove sides rom a polygon

or points rom a star.


21/48

Previewoptions

Wki wi gapi 21

Tip: Batch-process bitmap images or

sketches using the Live Trace command

in Bridge.

Live Trace automatically turns placed images into beautiully detailed vector graphics

that are easy to edit, resize, and manipulate.

To use Live Trace:

Step 1: Select a placed bitmap image, and click the Live Trace button in the Control

panel to create a Live Trace object.

Step 2: See the results in the workspace, and, i desired, adjust your settings in the

Control panel. For example, select a preset or a dierent type o image, and choose

the type o raster or vector preview you want to see. Click the Tracing Presets and

Options button to access more advanced tracing options.

Adjust the threshold to fne-

tune the contrast o the traced

image

Tip: For more on Live Trace, see

Creating Vector Content Using Live Trace

on the Adobe website (www.adobe.

com/products/illustrator/pdfs/creating_

vector_content.pdf).

Step 3: When tracing black-and-white images, adjust the Threshold setting in the

Control panel. Illustrator converts pixels lighter than the Threshold value to white and

pixels darker than the Threshold value to black.

Note: Ater you trace a bitmap image, you may fnd details that youd like to remove.

Use the Edit Original command in the Links panel to open the image in Photoshop

where, or instance, you can remove a border or extraneous detail. Save your changes,

and Live Trace automatically retraces the placed image.

Tracing Presets and Options

Choose a tracing presetCreate a Live Trace object

Live Trace

Tracing Options Dialog

W O R K I N G W I T H G R A P H I C S


22/48

Fill color

Swapll and stroke

Stroke colorDeaultll and stroke

22 Fha Ia Miai gi

t swa a c pa


Creating and applying color

In Illustrator, there are several ways you can apply color to strokes and lls.

Te Color Picker lets you select an objects ll or stroke color by choosing roma color spectrum, dening colors numerically, or clicking a swatch. o display

the Color Picker, double-click the ll or stroke color selection box in the ools

panel or Color panel.

In addition, you can use the Color panel to apply color to an objects ll or

stroke, and use it to edit or mix colors. Te Color panel can display color values

using dierent color models. o display the panel, choose Window > Color or

click on Fill or Stroke in the ools panel.

Working with swatches

Swatches are named colors, tints, gradients, and patterns. Te swatches associ-

ated with a document appear in the Swatches panel. In addition, you can open

libraries o swatches rom other Illustrator documents, and access various color

systems. Swatch libraries appear in separate panels and are not saved with the

document until you drag and drop specic swatches to the Swatches panel.Swatches can be organized in named groups and can be viewed in organized

hierarchies.

How do I access Pantone Libraries?

o open a specic swatch library, including PANONE, HKS, rumatch,

FOCOLONE, DIC, OYO, and Web, choose it rom the Window > Swatch

Libraries submenu or the Open Swatch Library pop-up menu in the Swatchespanel menu. When you open a swatch library, it appears in a new panel (not the

Swatches panel as in FreeHand). You select, sort, and view swatches in a swatch

library the same as you do in the Swatches panel.

In FreeHand, swatches are global (meaning that when you modiy the swatch,

all items colored with it change accordingly); in Illustrator, you can choose

whether or not swatches are global. You can save your own swatch libraries to

use in other Illustrator documents. You can also share the swatches you createin one Creative Suite 3 Design edition component with other components by

saving a swatch library or exchange. Te colors look the same across applica-

tions as long as your color settings are synchronized.

Note: Creative Suite 3 components that currently support swatch exchange include

Illustrator CS3, Photoshop CS3 and InDesign CS3.

t i aa i t pa

t swa pa y viw a

aiz y am i p. n

a wi a wk , -iki

a c gp i wi

awk i w i

p.



23/48

Wki wi gapi 23


Note:With a Live Paint group selected,you can click the Isolates Selected Group

button in the Control panel to enter

Isolation mode. This mode eectively

isolates the group, placing a gray border

around it so that you can easily add

paths to it.

Live Paint lets you paint vector graphics more intuitively by automatically detecting

shapes and correcting gaps.

To use Live Paint on a traced image:

Step 1: Select the traced vectors, and click the Live Paint button in the Control panel

to convert them to a Live Paint group.

Step 2: Use the Live Paint Bucket tool to fll regions with color or gradients with the

click o a button, and, using the Let Arrow and Right Arrow keys, choose which color

swatch to apply. A red outline indicates regions that you can fll in individually. Or, drag

the bucket across multiple regions to select them and fll them at once.

Step 3: Click the Gap Options button in the Control panel to locate and repair gaps

where color leaks through open edges into adjacent regions.

Convert vectors to a Live Paint group Paint with the Live Paint Bucket Control gaps in your artwork

Tip:Triple-click with the Live PaintSelection tool to select all regions in a

Live Paint group that are flled with the

same color.

Isolates selected group

Live Paint

Live Paint options in the Control panel



24/48

2 Fha Ia Miai gi


Live Color

Live Color is a complete color exploration environment within Illustrator CS3.

I you have ever been rustrated by having to color objects individually, you will

appreciate this interactive way to create and apply color schemes.

Live Color lets you work with color in a variety o ways. Use its tools or inspira-

tiondiscover new and unique color combinations that you can save and reuse.

Interactively apply color to multiple objects at once, test color schemes quickly,

and re-color artwork according to specic schemes such as PANONE or any

custom library.

Live Color includes the Color Guide panel, which invites exploration o color

groups without aecting your artwork. Use the Color Guide panel to nd

compelling colors and save them to organized color groups in your Swatches

panel. You can create color schemes based on 23 classic color-harmony rules

such as Complementary, Analogous, Monochromatic, and riad, or you can

create custom harmony rules. Choose a base color, and then see what varia-

tions you come up with according to rules you choose. You can also limit color

schemes to existing libraries such as PANONE solids or any set o colors you

may have saved in a previous project.

You can discover endless varieties o colors by playing with the color wheel and

exploring harmonies in Live Color, no matter what their output media. For

Flash designers, Live Color allows ast creation o amazing color shi anima-

tion. Users o Adobe Aer Eects CS3 soware can experiment with color

schemes on imported vectors using Live Color in Illustrator, and then automati-

cally see the updates in Aer Eects.

Live Color is also ideal or presenting color options to clients. Quickly changethe entire look and eel o a logo, a piece o collateral, or an illustration to

present likely color schemes in the comp phase o a project. And saving color

variations is easier than ever, so moving rom comps to nal production is e-

cient, thanks to quick application o saved schemes.

t c gi pa y qiky

m a a i

y imii a pi wa

iay.

k i i a i . t

k pa aw y w rss

k ai (kuler.adobe.com),

wa ay k m swa

pa, pa y w

p k, a aa wi

k mmiy.



25/48

Wki wi gapi 2


Live Color also includes the Live Color dialog box, which provides the tools or

dynamically applying colors to selected objects. Select any number o objects in your

artwork and access the Live Color dialog box rom your Control panel, the Swatches

panel, or through the Color Guide panel . Here you will fnd a color wheel with

the colors in your selected objects mapped to the wheel.

The Live Color dialog box has all the options that are ound in the Color Guide, and

more. With an object selected, preview changes in your artwork live as you shit the

entire tone o your artwork at once or adjust just one color with maximum precision.

Reduce the number o colors in your artwork, and Illustrator will intelligently re-map

new colors to your objects based on the parameters you defne.

Reer to Illustrator Help (Help > Illustrator Help) or more in-depth inormation about

Live Color.

Map the colors in your artwork

to new and unique color schemes

Tip: In the Assign pane o the Live

Color window, you can choose a

preset to turn your artwork, or

example, into a two-color job.

The Live Color dialog box

When you change the

number o colors in your

artwork, you can defne

how you want Illustrator

to map new colors to

your objects



26/48

2 Fha Ia Miai gi

I gai pa, y a mi

yp a a ai a p

y ai wa i i.


Using the Eraser tool

You can dene the diameter, angle, and roundness o your Eraser tool. Double-

click the Eraser tool to show the Options dialog box, where you can set behav-

iors to achieve just the eect and the new shapes you want.

o easily erase more than a single selected object, go into Isolation Mode to

segregate grouped objects, such as a Live Paint group, symbols, or any regular

group by double-clicking the object. Once your objects are in isolation mode

use the Eraser tool without disturbing the rest o your design.

PatternsIllustrator comes with many patterns that you can access in the Swatches panel

and in the Illustrator Extras older on the Illustrator CD. Patterns in Illustrator

can be much more intricate than the patterns oered in FreeHand, and you can

also design patterns rom scratch with any o the Illustrator tools, customize

existing patterns, and, more importantly, see the resulting patterns onscreen as

you work.

Patterns tile rom le to right rom the ruler origin (by deault, the bottom leo the artboard) to the opposite side o the artwork. o adjust where all patterns

in your artwork begin tiling, you can change the documents ruler origin.

Patterns intended or lling objects (ll patterns) dier in design and tiling

rom brush patterns. For best results, use ll patterns and brush patterns on

the objects the way they were intended. Brush patterns can consist o up to ve

tiles (or the sides, outer corners, inner corners, and the beginning and end o

the path). Te additional corner tiles enable brush patterns to ow smoothly at

corners.

Gradients

In Illustrator, you apply gradients to lls and objects rom the Swatches panel

or the ools panel. You will nd that gradients in Illustrator are much smoother

than those you can create in FreeHand (without visible linear or radial steps)

and output exactly as you have created them. In the Gradient panel, you can

choose between radial and linear gradients, and determine the angle o the

gradient and the location o colors. Tere are no handles to manually deter-

mine the starting and ending points o a gradient. Click the Gradient tool at the

desired starting point and, then drag the cursor to the desired ending point.

Gradient colors are dened by a series o stops in the gradient slider (a

minimum o two). A stop is the point at which a gradient changes rom one

da v api i swa pa

a m a pa a y a appy

a k.



27/48

Wki wi gapi 2

t sym pa

color to the next, and is identied by a square below the gradient slider. o

change the color o a gradient stop, drag a color rom the Color panel or the

Swatches panel onto it. Te squares display the color assigned to each stop. With

a radial gradient, the lemost gradient stop denes the center points color ll,which radiates outward to the color o the rightmost gradient stop.

Once you create or modiy a gradient, save it as a swatch by clicking the New

Swatch button in the Swatches panel. Alternatively, drag the gradient rom the

Gradient panel or ools panel to the Swatches panel.

Using symbols

Working with symbols is similar to working with graphic elements in a

FreeHand Library. A symbol is an art object that you can reuse in a document.

For example, i you create a symbol rom a lea, you can then add instances o

that symbol multiple times to your artwork without adding the complex art

itsel. Each symbol instance is linked to the master symbol in the Symbols panel

or a symbols library. Using symbols saves you time and greatly reduces le size.

You can make a symbol rom any kind o vector, raster, or type object in your

document or use Illustrators built-in Symbols library. o create a symbol, dragand drop a graphic element into the Symbols panel.

Aer you place a symbol on the artboard, you can edit the symbols instances

and, i you want, redene the original symbol. o edit a symbol and access its

paths, double-click on a instance o it, and you will be in isolation mode. Make

the necessary changes, and then double-click to exit isolation mode (or use

the navigation at the top o the artboard), and all instances o that symbol are

t ymim y a a maipa mip

ym ia a . ui ymim , y a

pay, i, , iz, pi, ai, , y ym

i y m gapi sy pa.

Sized Stained with another color

Screened to become transparent

Spun



28/48

2 Fha Ia Miai gi

updated with the changes. Also, the Control panel shows all symbol-editing

options, including instance name.

Symbols in Illustrator CS3 are enhanced or ease o use and better integration

with Flash. Symbol options now include dening a symbol type as a Movie

Clip symbol or Graphic symbol, assigning the symbol a Flash registration loca-

tion, and enabling guides or 9-slice scaling. You will also nd similar interace

elements, such as the F8 keyboard shortcut or creating a symbol and access to

options via the Control panel like those in the Flash Properties Inspector.

The Appearance panel

In FreeHand, you determine the properties o your objects in the Object

Properties panel. In Illustrator, you use the Appearance panel to view and adjust

the appearance attributes or an object, group, or layer. Fills and strokes are

listed in stacking order; top to bottom in the panel correlates to ront to back in

the artwork. Eects are listed rom top to bottom in the order in which they are

applied to the artwork. o display the panel, choose Window > Appearance.

Appearance attributes are properties that aect the look o an object without

altering its underlying structure. Appearance attributes include lls, strokes,transparency, and eects. I you apply an appearance attribute to an object and

later edit or remove that attribute, the underlying object or any other attributes

applied to the object dont change.

You can set appearance attributes at any level o the layer hierarchy. For

example, i you apply a drop shadow eect to a layer, all objects in the layer take

on the drop shadow. However, i you move an object out o the layer, that object

will no longer have a drop shadow, because the eect belongs to the layer, not toeach object within the layer.

Te Appearance panel is the gateway to working with appearance attributes.

Because you can apply appearance attributes to layers, groups, and objectsand

oen to lls and strokes toothe hierarchy o attributes in your artwork can

become very complex. For example, i you apply one eect to an entire layer

and another eect to an object in the layer, it may be dicult to determine

which eect is causing the artwork to change. Te Appearance panel shows you

the lls, strokes, graphic styles, and eects that have been applied to an object,

group, or layer.

t Appaa pa



29/48

Wki wi gapi 2

liv tapay i pa Pp

aw y a a i mix v

a imap a.

Tip:To see the transparency grid (similar

to the one in Photoshop), choose View >

Show Transparency Grid.

Placing graphics

Te Place command is the primary method o importing graphics, because it

provides the highest level o support or le ormats, placement options, and

color. Aer you place a le, use the Links panel to identiy, select, monitor, and

update it. Alternatively, you can use Adobe Bridge CS3 to drag and drop your

assets onto the artboard. Bridge lets you organize and browse Illustrator and

other creative assets. You can open Bridge rom the Control panel.

One o the benets o Creative Suite 3 is integration among its components.

Tis means that you can not only place EPS or IFF les, but also place native

Photoshop les with transparency, or control the visibility o layer comps in

linked, embedded, and opened Photoshop les as easily as you control thevisibility o regular Photoshop layers. From the Links panel in Illustrator,

choose Edit Original to open the le in Photoshop. When you save the le in

Photoshop, the linked le will automatically be updated in Illustrator.

Tanks to the Adobe Color Engine (ACE), placed graphics dont suer color

shis when moved rom one application to another.

Isolation mode

In Illustrator CS3, Isolation mode is an essential method or working with

complex artwork. Isolation mode is a boon or designers who spend a lot o

time grouping, hiding, locking, and endlessly restacking layers to access objects

or editing while protecting areas o artwork that need to remain untouched.

Isolation mode ocuses on groups. All objects in any group respond to Isolation

mode, as do Live Paint groups, symbols, and objects with envelope distortion

applied to them. Simply double-click with the Selection tool on any group o

objects, and see that the rest o your artwork becomes inaccessible.

I i xamp, mai a i

iai m a a i wi

aiay i wa

(imm).



30/48

30 Fha Ia Miai gi

Filters and efects

Many commands or changing the look o objects are available in both the Filter

and Eect menus. For example, all o the commands in the Filter > Artistic

submenu are also listed in the Eect > Artistic submenu. However, lters and

eects result in dierent outcomes, so its important to understand the dier-

ence in their use. Eects are live, which means you can apply an eect to an

object and then continue to modiy the eects options or remove the eect

using the Appearance panel. Eects are nondestructivethey dont change the

underlying object. Once you apply an eect to an object, the Appearance panel

lists the eect and enables you to edit, move, duplicate, or delete the eect, or

save it as part o a graphic style.

Filters, on the other hand, change the underlying object, and the changes cant

be modied or removed aer the lter is applied. One advantage to reshaping

an object with a lter is that you have immediate access to the new or modied

anchor points created by the process. (An eect must be expanded beore you

have access to the new points.)

Note that when you apply lters or eects to linked bitmap images, the images

will be unlinked and become embedded in the document.

e m p m: 3d, dp saw,

Wap.

Document raster efects settings

Whenever you apply a raster eect such as Blur or Sketch, Illustrator uses

the documents raster eects settings to determine the resolution o the re-

sulting image. These settings have a large impact on the resulting artwork;

thereore, its important to check the document raster eects settings beore

you start working with flters and eects and, more importantly, beore you

export or print your artwork. You set rasterization options in the Document

Raster Eects Settings dialog box (Eect > Document Raster Eects Settings).

Document Raster Eects Settings will be set correctly when you choose the

appropriate New Document profle or any particular medium.

dm ra e si ia x


31/48

Wki wi tx 31

Working with Text Text composition methods

Te appearance o type on the page depends on a complex interaction o

processes called composition. Using the word spacing, letter spacing, glyph

scaling, and hyphenation options youve selected, Illustrator evaluates possible

line breaks and chooses the one that best conorms to the specied parameters.

Illustrator oers two composition methods: the Adobe Every-line Composer

and the Adobe Single-line Composer.

Te single-line composer oers a traditional approach to composing typeone

line at a time. Tis option is useul i you want manual control over how lines

break or i you are working with legacy text that you do not want to reow.

Te every-line composer considers a network o break points or a range o

lines, and can optimize earlier lines in the paragraph in order to eliminate espe-

cially unattractive breaks later on.

o choose one o these methods, choose it rom the Paragraph panel menu.

I you select your type object with the Selection tool, Illustrator applies the

method to all paragraphs that are contained in it; i you click the text insertion

point in a paragraph the option will be applied only to that paragraph.

FreeHand uses a text composition engine that is very similar to the Adobe

Single Line Composer; i you notice unwanted text-reow in a converted docu-

ment, try changing the composition method.

Type tools

In FreeHand, you use the ext tool to enter text, either into xed size or auto

expanding text blocks, to then ow it into a shape or attach it to a path. InIllustrator, there are three methods or creating type: at a point, inside an area,

and along a path.

Point type is a horizontal or vertical line o text that begins where you click

on the artboard with the ype tool and expands as you enter characters.

Tis method is useul or adding a ew words to your artwork. Point type

resizes when you drag the handles o the bounding box.

Area type uses the boundaries o a selected vector object to control the owo characters. When the text reaches a boundary, it automatically wraps to

t inside the dened area. Tis method is useul when you want to create

one or more paragraphs, such as or a brochure. Create a container or area

type by clicking and dragging a rectangular shape with the ype tool, or

use the Area ype tool to select any closed path to contain your text. You

can also create a text area by clicking and dragging on the artboard with the

typ i t pa

Type tool

Area Type tool

Type On A Path tool

Vertical Type tool

Vertical Area Type tool

Vertical Type On A Path tool

si-i cmp evy-i cmp

t Paaap pa a pi

avaia m pa m.

W O R K I N G W I T H T E X T


32/48

32 Fha Ia Miai gi

ype tool. You can modiy the shape o the type area by dragging handles o

the bounding box; text will reow in the new shape.

ype on a path ows along the edge o an open or closed path. Te text

ows in the direction in which points were added to the path.

In addition to typing text in your artwork, you can import it rom a variety o

text le ormats (or example Microso Word, RF, or plain text documents) by

choosing File > Place.

How do I insert special characters?

o insert special characters or characters or which you do not know the

keyboard shortcut, use the Glyphs panel (ype > Glyphs). Using any type tool,

click an insertion point where you want to enter the character, and then double-

click the character you want in the Glyphs panel.

How do I ormat text?

In FreeHand, you can ormat text in both the Object Panel and the ext toolbar.

In Illustrator, you can ormat selected text directly in the Control panel or by

using the Character or Paragraph panel.

Where are the text efects?

In Illustrator, there are no text-specic eects such as highlight, shadow, or

zoom. You apply text eects rom the Eect menu just as you would with any

graphic element. Youll nd strikethrough and underline in the Character panel

(i you do not see these options, choose Show Options rom the panel menu).

Control panel

Text ormatting toolsCharacter panel

Paragraph panel

Font selection

Size, leading, kerning, andtracking

Horizontal and vertical scale,baseline shit, and text rotation

Underline and strikethrough

Language or hyphenation andspell checking

Alignment

Indents

Space beore and ater paragraph

Automatic hyphenation

gyp pa



33/48

Wki wi tx 33

Type on a path

In FreeHand, you attach text to a path; Illustrator lets you type text on a path.

You can then move or ip text along the path by dragging the handles that

appear on the sides o the text. Choose ype > ype On A Path to speciy eects

and other options, such as spacing.

How do I position two paragraphs around a circle like in FreeHand?

In FreeHand, you can press the Return or Enter to align a second paragraph o

text in the lower part o an object. In Illustrator, you must rst divide the object

into two sections with the Scissors tool, and then you can ow the text along one

path and onto the second path by linking the text objects.

Linking text objects

I you want to insert text that will ow rom one text area to another, you must

link them. Each area type object contains an in port and an out port; an empty

port indicates that all the text is visible and that the object isnt linked. An arrow

in a port indicates that the object is linked to another object. A red plus sign in

an out port indicates that the object contains additional text (overow text).

Out port

In port

Thread

Overfow text indicator

When working with text that threads among objects, it can be useul to show

the threads; i they are hidden, choose View > Show ext Treads, and then

select a linked object.

How do I create rows and columns in a text area?

In FreeHand, you create multiple columns and rows in the Object panel; in

Illustrator, you use the Area ype Options dialog box. Select the text box in

which you want to add columns or rows, and choose ype > Area ype Options.

Tip: Illustrator CS3 threads text between

objects. Click the in or out port o a

selected type object, and then click

and drag the loaded text icon to create

a second threaded object. To break a

thread, select a linked type object, and

then double-click the port on either endo the thread.

typ pa i (m p

m) raiw, skw, a 3d ri.



34/48

Coffee & Teafor Breakfast

Coee Tefor Breakfa

3 Fha Ia Miai gi

OpenType support

Te Openype ont standard was developed jointly by Adobe and Microso,

and it brings the advantages o the PostScript ype 1 and rueype ont

ormats into a new ormat that takes advantage o Unicode character encoding.

Openype onts use a single ont le or both Windows and Macintosh

computers, so you can move les rom one platorm to another without

worrying about ont substitution and other problems that may cause text to

reow.

When working with Openype onts, you can automatically activate alter-

nate glyphs, such as ligatures, small capitals, ractions, and old style propor-

tional gures. In Illustrator, these options are available in the Openype panel(Window > ype > Openype).

Tip: To create a style based on anyselected text, click the Create New

Style button in the Character Styles or

Paragraph Styles panel.

Paragraph and character styles

In FreeHand, you text ormatting is saved at the object level; Illustrator allows

you to save both paragraph styles and character styles to quickly apply them to

other text. I you modiy a paragraph or character style, the changes aect all

text in the document with that style applied. A benet o using styled text is that

you do not lose local ormatting such as bold or italic when you update a style.

Converting text to paths

Te Create Outlines command lets you turn type into a set o compound pathsthat you can edit and manipulate as you would any other graphic object. When

you create outlines rom type, characters are converted in their current posi-

tions; they retain all graphics ormatting, such as stroke and ll.

For more inormation, see Working with Type in Illustrator CS2 on the Adobe

website (www.adobe.com/products/illustrator/pdfs/Text_in_AICS2.pdf).

u optyp pa appy

pia aa a ia, ai,

ia, a yii aaiv.


35/48

savi a expi Fi 3

Saving

In FreeHand, you can save your pages as a FreeHand document, template, or

editable EPS (a le that you can both place in page layout programs and edit i

necessary). In Illustrator, you can save your work as Illustrator les or templates,

Illustrator EPS, Adobe PDF, and SVG (all o these are native ormats that can

easily be reused or imported because they preserve all Illustrator data).

I you need to use the Illustrator le in an Adobe workow, you can leave it

in the Illustrator le ormat (make sure that the Create PDF Compatible File

option is selected in the Save As dialog box). You will then be able to place the

le into InDesign layouts or urther edit the le in Photoshop.

Saving andExporting Files

t aiv Ia ma, wi y

a a y i Fi > sav, sav A,

sav A cpy.

W avi Ia a PdF, y

a a m va PdF/X

aa.

About PDF/X

PDF/X is a standard used or proessional

printing workows. The beneft o using

PDF/X is that the produced PDF will not

contain unnecessary inormation and

will not include elements that may causeproblems during output (such as RGB

images).

Choose an Adobe PDF standard rom the Standard menu at the top o the Save Adobe

PDF dialog box. Currently, the most widely used standards or a print publishing work-

ow are available in two dierent types o PDF/X ormats: PDF/X-1a and PDF/X-3. For

more inormation on PDF/X, see the Adobe website (www.adobe.com/studio/print/psp.

html).

PDF/X is an ISO standard used or graphic content exchange and proessional work-

ows.

PDF/X-1a requires that all onts be embedded, the appropriate PDF bounding boxes

be specifed, and color appears as CMYK, spot colors, or both. PDF/X-compliant fles

must contain inormation describing the printing condition or which they are pre-

pared. You can open PDF fles created with PDF/X-1a compliance in Acrobat 4.0 and

later and Acrobat Reader 4.0 and later (renamed Adobe Reader rom version 6.0 on).

The main dierence between PDF/X-3 or PDF/X-4 and PDF/X-1a is the use o colormanagement and device-independent color (CIE L*a*b, ICC-based color spaces, Cal-

RGB, and CalGray) in addition to CMYK and spot colors. PDF/X-3 allows you to use ICC

color profles to speciy color data later in the workow at the output device. You can

open PDF fles created with PDF/X-3 compliance in Acrobat 4.0 and later and Acrobat

Reader 4.0 and later. PDF/X-4 (based on PDF 1.7) supports transparencies, layers,

JPEG2000 image compression, and 16-bit images.

S A V I N G A N D E X P O R T I N G F I L E S


36/48

t sav A PdF ia x aw y

av y awk iii, viw

y, a i-qaiy pii.

A dvi ca y pviw w

y awk wi ipay mi vi.

3 Fha Ia Miai gi

I you need to use your Illustrator artwork in applications outside o Creative

Suite you can save it as EPS, which is accepted by virtually all page layout, word-

processing, and graphic applications. Note that EPS les can contain both vector

and bitmap graphics.Adobe PDF is the standard or the secure, reliable distribution and exchange

o electronic documents around the world. PDF is highly eective in print

publishing workows. When you save as PDF, you can also choose to create

a PDF/X-compliant le. PDF/X (Portable Document Format Exchange) is a

subset o PDF that eliminates many o the color, ont, and trapping variables

that can lead to printing problems.

Adobe Device Central

With Adobe Device Central CS3, you can streamline your mobile publishing

workow and save time when working on mobile content. Adobe Device

Central helps preview, test, and optimize your content as you work by providing

specic target device templates so you can quickly switch back and orth

between your Illustrator view and device preview.

Adobe Device Central, along with new integration eatures such as the CropArea tool and Flash text and symbol options, simply allows you to do more o

your work in Illustrator. ake advantage o the power o Illustrator, whether

youre designing stills or motion, whether or mobile, broadcast, or the web.

Tip: To quickly create a PDF o a portion

o your artwork, use the Crop Area tool to

select the area you want to save. The PDF

page will be exactly the dimensions o

your crop area.



37/48

A i, pimiz a a w pa

t sav F W & dvi ia x

2-Up tab Original artwork Preview o optimized artwork

Optimized le size andapproximate download time

Preview In Browserbutton

Slice Selecttool

Toggle SlicesVisibility

button

Preset

pop-up menu

SWF, GIF, and JPEGoptions

CSS Layersor SWF

Preview in AdobeDevice Central

savi a expi Fi 3

Saving or web and devices

Although you can save your artwork as web-riendly les using the Export

command, it is much simpler to use the Save For Web & Devices command.

Save For Web & Devices allows you to choose web le ormats, select compres-

sion and color options, and preview the optimized artwork. Additionally, you

can change the image size and export CSS (cascading style sheets) layers.

In Illustrator, you can use slices to dene the boundaries o dierent web

elements (such as HML text, bitmap images, or vector graphics) in your

artwork. For example, i your artwork contains a bitmap image that needs to be

optimized in JPEG ormat, while the rest o the image is better optimized as a

GIF, you can isolate the bitmap image using a slice. When you save the artwork

as a web page using the Save For Web & Devices command, you can choose to

save each slice as an independent le with its own ormat, settings, and color

panel. Slices in an Illustrator document correspond to table cells in the resulting

web page.



38/48

3 Fha Ia Miai gi

You export artwork as SWF fles using the Export command or the Save For Web &

Devices command. Options in the Export dialog box give you more control over

animation and bitmap compression options, while options in the Save For Web &

Devices dialog box give you more control over the mix o SWF and bitmap ormats in a

sliced layout. Although the Save For Web & Devices dialog box doesnt let you set the

Image options that are available or the Export (SWF) command, the Save For Web &

Devices command does use the Export commands last-used settings.

The Save For Web & Devices dialog box can also be a very convenient or previewing

your animation in a web browser.

b pi

bai a Ava

Fa ma pi

I i xamp, a i a a Wap appi i.

Exporting Flash animation rom Illustrator

Creating rame-based animation

Flash animation is rame based. Keep

that in mind when working with layers;

each layer o the Illustrator document

will become a rame o the animation.

Considering that Flash animation

typically plays at 12 rames per second,

you will need 12 layers or each second o

animation.

Using symbols

I you create a layer-based animation o

repeated shapes, you can use symbols

instead o adding complex art to every

layer. Each symbol instance is linked to

the symbol in the Symbols panel or a

symbols library.

Apply eects to symbols using the

Symbols panel. The resulting fle size will

be smaller.

Ater you place a symbol, you can edit

the symbols instances on the artboard

and, i you want, redefne the original

symbol.

Using blends to animate objects

Illustrator blends are very useul i you

want to morph shapes or change colors

as the animation proceeds. You can also

modiy the blends path with the drawing

tools to create very intricate movements.



39/48

exp y awk may aa

yp y i Fi > exp.

savi a expi Fi 3

Adobe Flash CS3 Proessional integration

Kick o your Flash projects with Illustrator CS3 and have condence that your

vectors will copy/paste and import reliably. Te integrity o critical elements

in your Illustrator artwork is now maintained in Flash Proessional CS3, with

intact pathsand correct anchor point positionsas well as gradients, clipping

masks, and symbols. Plus, your entire Illustrator layer and grouping structure

is preserved, along with all your object names. Now you can move back and

orth between soware more easily and take ull advantage o the strengths o

Illustrator to create intricate and unique vectors or your animations.

Features that are o particular interest to Flash designers include Illustrator

symbols and type tools. You can save any Illustrator shape as a symbol thatyou can paste into Flash, and use Symbol tool options that are now similar in

Illustrator and Flash. ake advantage o the power o Illustrator type tools to

create text that you can better control in Flash, choosing to dene it as Regular

ext, Dynamic ext, or Input ext, and assigning properties accordingly.

Exporting

I you need to use your le in workows that do not support native Illustrator

le ormats, you can export the artwork into many alternate le types, including

AutoCAD Drawing (DWG), Macromedia Flash (SWF), or IFF.

Tese ormats are called non-native because Illustrator doesnt include all o

the data necessary to reopen the le in Illustrator. For this reason, it is recom-

mended that you save artwork in AI ormat until you completed it, and then

export the artwork to the desired ormat.


40/48

I sp pa Pi ia x, ya cp Aa m cp Awk

t m.

0 Fha Ia Miai gi

Illustrator CS3 output is reliable and accurate, thanks to improved perormance

and such eatures as transparency attening and overprint preview, whether you

output to a printer or export as Adobe PDF. Feel condent that your Illustrator

CS3 artwork will print as you have created it.

The Page tool

An Illustrator document can be up to 227 square inches, but the paper you print

on comes in standard sizes. You use the Page tool to dene which part o the

artwork appears on the printed page.

o view and use the Page tool:

In the Print dialog box, choose a printer and a media size, and then click

Done.

Choose View > Show Page iling. Illustrator outlines the area that will print

on the selected media size.

Select the Page tool (hidden behind the Hand tool in the ools panel) and

use it to move the print area as necessary.

The Crop Area tool

Te Crop Area tool in Illustrator CS3 provides a working environment that

includes dimensions and units tailored to your output. For print, the web, video,

and lm, predened Crop Area characteristics set up your workspace so that its

automatically ecient or the type o media that will display your designs.

Select the Crop Area tool in the toolbar and simply pull open any size rectan-

gular area to crop. Look at the Control panel and see that you can enter a size

and position or your crop area, choose to show or hide sae areas, and delete a

crop area.

The Print dialog box

Printing your artwork in Illustrator is very similar to using the Advanced Print

Settings in FreeHand. Te Print dialog box lets you click through panes thatprovide controls over general settings, document setup, marks and bleeds,

output, graphics, and color management. Click Page Setup to speciy page setup

options.

1.

2.

3.

Printing


41/48

Pii 1

Each category o options in the Print dialog box in Illustratorrom General to

Summaryis organized to guide you through the printing process:

GeneralSet the page size and orientation, speciy how many pages to print,

scale the artwork, and choose which layers to print.

SetupCrop the artwork, change the placement o artwork on the page, and

speciy how to print artwork that doesnt t on a single page.

Marks & BleedSelect printers marks and create a bleed.

OutputCreate color separations or choose what plates to print.

GraphicsSet printing options or paths, onts, PostScript les, gradients,

meshes, and blends.

Color Management Selecta color prole and rendering intent or printing.

AdvancedControl the attening (rasterization) o vector artwork during

printing.

SummaryView and save a summary o print settings and warnings about

possible output problems.

For more inormation about printing rom Illustrator CS3, visit the Print

Resource Center on the Adobe website (www.adobe.com/studio/print/

main.html).

Toggle to print plate

CMYK plate

Spot color plate

Print preview

I op pa Pi ia x,

pi paai, a

piy ik, , a m pa i.

The Print dialog box

P R I N T I N G


42/48

2 Fha Ia Miai gi

Flattening transparency

ransparent eects in artwork must be attened beore they can be printed. o

see areas that need to be attened, choose Window > Flattener Preview, and

then click Reresh. o ne-tune the transparency attening settings or select

another preset, choose Show Options rom the panel menu. Click Reresh again

to preview the results. Or, select an object, and then choose Object > Flatten

ransparency.

Tip: For more inormation on attening,

seeA Designers Guide to Transparency for

Print Outputon the Adobe website

(www.adobe.com/products/creativesuite/

pdfs/dgt.pdf).

Fa Pviw pa

cai y w apay fa

p

Transparency Flattener Presets

Illustrator CS3 oers three attening presetsLow, Medium, and HighResolutionso that you can quickly and easily atten artwork or common

print conditions. o edit these presets or to create your own, choose Edit >

ransparency Flattener Presets.

About Transparency and the Flattener Preview

Illustrator allows you to apply very complex transparency eects such as

blends and ades, sot drop shadows, and eathered edges to your graphics.

Furthermore, you can change the opacity and apply blending modes to any

object in Illustrator. Thanks to the integration between components in Adobe

Creative Suite 3, you can place native transparent Photoshop (PSD) fles into

your Illustrator artwork without rasterizing your compositions frst (or example,

saving as EPS or TIFF).

I you are new to native transparency, note that transparency is attened when

you export a document to a fle ormat that doesnt support native transparencyrom Illustrator, or when you print the document.

To preview what areas will be attened, choose Window > Flattener Preview,

and then click Reresh.

P R I N T I N G


43/48

Pii 3

Awk wi ovpi Pviw Awk wi ovpi Pviw

Overprint Preview

In the Illustrator Attributes panel, you can set the lls and strokes o elements o

your artwork to overprint when it is separated or proessional printing.

For so (onscreen) color proos o your artwork, choose View > OverprintPreview. Overprint Preview approximates how blending, transparency, and

overprinting will appear in color-separated output, which can save time and

money by preventing unwanted surprises on press.

Printing overlapping tiles

I your artwork does not t on a single printed page, you can tile it. iling is

divi

Adobe or CS3-Freehand Guide

Documents

Transcript of Adobe or CS3-Freehand Guide