1. New FeaturesThe common Adobe user interface| 00:00 | With Adobe Creative Suite 4, Adobe has
taken all the CS4 applications and given
| | 00:05 | them a new unified user interface.
Now, applications like Photoshop,
| | 00:09 | Illustrator, InDesign, Dreamweaver,
Flash, Fireworks, all share the exact same
| | 00:14 | user interface.
| | 00:15 | You'll notice that it appears more gray
overall, and some of the features have
| | 00:19 | actually started appearing inside of CS3.
For example, the ability to collapse
| | 00:23 | panels into icons.
| | 00:26 | The first thing you'll notice is this
new bar across the top of the screen,
| | 00:29 | which is called the Application Bar.
In fact, new to the Mac is the ability to
| | 00:34 | actually have something called
the application frame, where all the
| | 00:37 | elements within the application
fit within a single unified frame.
| | 00:41 | Let me show you what I mean. If I go
over here to this particular panel here
| | 00:45 | and expand all these, notice as I
click and I drag on this bar, the entire
| | 00:48 | application moves. So it's not just
the document window itself, but it's all
| | 00:53 | the panels and everything along with it.
| | 00:55 | You can go to a Window menu and choose
Application Frame and turn that feature off
| | 00:59 | and that basically reduces all
the windows to the way that used to be
| | 01:02 | before. However, more like a windows
environment, if you go to the Window menu
| | 01:06 | and you choose Application Frame, like
I said, everything now is unified into
| | 01:10 | this one single window.
| | 01:12 | One of the great benefits of this is
the ability to have tab-based documents.
| | 01:15 | For example, I have three Illustrator
documents opened right now. I have this
| | 01:19 | one here called graphic_styles, but I
can easily click on this document to
| | 01:23 | switch to this document, or this one
over here to go to this one. I can use the
| | 01:26 | keyboard shortcut, Command+Tilde,
that's the little button that appears above
| | 01:30 | the Tab key on the left side of the
keyboard, to actually to dance between the
| | 01:34 | different open documents.
| | 01:37 | I also have the ability to go to this
icon here on the Application bar, which
| | 01:41 | allows me to arrange my documents. For
example, because I have three documents open,
| | 01:45 | I can choose this one over here,
and specify three up. That gives me
| | 01:49 | three documents I could see
simultaneously and I can move around inside of
| | 01:53 | them as I click inside of them. Only
one could be active at any one time,
| | 01:56 | but I have the ability to view now
multiple documents and I could also just
| | 01:59 | click between these to adjust how these appear.
| | 02:03 | At anytime you could also take any
tab, drag it out, and turn it into a
| | 02:07 | floating document window as well. Let
me close this file here and I'll return this
| | 02:11 | back to just a single view
here with the tabs that I have.
| | 02:14 | Now it's rare that everyone works in
the exact same way or does the exact same
| | 02:19 | tasks. For a while now, Illustrator
has been able to save workspaces. That
| | 02:23 | means you kind of capture the panels
and the layout that you have on your
| | 02:27 | screen for any given task. If you'll
look over here, there's something called
| | 02:31 | Essentials. This is actually called the
workspace switcher. If I click on this,
| | 02:35 | I'll see that I could switch between
the different workspaces, for example,
| | 02:38 | Typography. Notice that I have now
all the tools that are necessary for
| | 02:41 | type, or I'll switch to this
one here called Automation.
| | 02:45 | One of the great things that the
Illustrator team has done now in CS4 is that
| | 02:48 | they have given us workspaces for
things like FreeHand. So if you are a
| | 02:52 | FreeHand user and you're just moving
over to Illustrator now, you get to see a
| | 02:55 | layout that is more familiar to you.
| | 02:57 | Similarly, you can also choose
workspaces called Like InDesign or Like
| | 03:02 | Photoshop. Naturally, you can save and
create your own workspaces. I'll return
| | 03:09 | back to the Essentials workspace here.
I just want to show you I could
| | 03:12 | actually pull out a panel here and
where in the past l had the ability to
| | 03:16 | create these floating panels, I can out
create what are called these flotillas,
| | 03:21 | where I could actually have these kind of
together and yet still collapse them to icons.
| | 03:25 | So they don't have to be docked
to the sides of the screen. For example,
| | 03:28 | left or the right side. I have the
ability to expand them right here and also
| | 03:32 | reduce them to icons as needed.
| | 03:35 | You'll also notice Document Setup and
Preferences buttons here in the control
| | 03:38 | panel, which you can access that
anytime in the Illustrator. Once again, I'll
| | 03:41 | reset my workspace back to the
Essentials. Overall, the new user interface
| | 03:46 | obviously since it's consistent with other
applications makes it easier to learn.
| | 03:50 | Once you get started using it inside
of Illustrator, you'll see how much it
| | 03:53 | enhances your workflow.
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| Using multiple artboards with Bleed Support| 00:00 | Over the years, more and more designers
have been asking Adobe to add multiple
| | 00:04 | pages to Illustrator. Well, now in
Illustrator CS4, what is probably the
| | 00:08 | biggest feature is something called
the multiple artboards. Now, notice it
| | 00:12 | doesn't say multiple pages. Adobe is
calling these artboards, because they are
| | 00:15 | a little bit different than the
concept of what a page might be.
| | 00:18 | So, for example on a program like
Adobe InDesign, you may have several pages
| | 00:22 | within a single document. In
Illustrator you have multiple artboards and each
| | 00:26 | of these artboards would serve
different purposes. Maybe different pieces of
| | 00:29 | art within an overall campaign. What's
cool about artboards is that they don't
| | 00:33 | need to be the same size. You can have
a single document with artboards that
| | 00:37 | are all of different dimensions. For
example, here in this file, this document
| | 00:41 | called Multiple Artboards, I have a
Large Poster, a Letterhead, an Envelope and
| | 00:46 | also a Label.
| | 00:47 | So, let's take a closer look at
how multiple artboards work inside of
| | 00:51 | Illustrator. I will start off by going
to the File menu and choosing to create
| | 00:54 | a New document. You will notice now,
that in the New Document dialog box,
| | 00:57 | I have the ability to specify the Number of
Artboards. Let me dial in let's say, for example, 4.
| | 01:03 | Now, as we will soon see in a minute
of how Illustrator sets these artboards up,
| | 01:07 | I can choose to either have these
artboards aligned by Row, by Column or
| | 01:12 | all in a single row or all in a
single column as well. So, I'm going to
| | 01:15 | actually have it set up right now to
be arranged in a single row. I can choose
| | 01:19 | the exact amount of space that appears
in between each of these artboards and I
| | 01:24 | can also choose the size. Let me simply
set that right now to Letter and you'll
| | 01:26 | notice that I also have the ability to
specify a Bleed setting. This is very,
| | 01:30 | very big for people who are involved
in print workflows where they need to
| | 01:34 | ensure that they have a bleed size
added to their document. You can now set up
| | 01:37 | your trim size to the actual page
size that you have right here and then
| | 01:41 | specify a Bleed additionally. For now,
I'm going to leave the Bleed set to
| | 01:44 | zero. We'll come back then in a minute.
I'm going to choose to click OK and
| | 01:48 | that's going to create this document.
You will notice now that I have four
| | 01:50 | artboards that are right here. Each of
the artboards are all of the exact
| | 01:53 | same size. They are letter size, 8.5 x
11, and if you take a closer look, you'll
| | 01:56 | see that my area over here - it's
kind of like a light gray. The pages
| | 02:01 | themselves or the artboards themselves
are white and then you notice that this
| | 02:04 | artboard here has a darker outline and
these are kind of a little bit grayed out.
| | 02:08 | So, the concept here basically is that
inside of Illustrator you can have
| | 02:12 | multiple artboards, but in any one time,
you have one active artboard and in a
| | 02:17 | minute we will see why that's
significant. If I zoom out a lot over here,
| | 02:22 | you'll see that Illustrator
creates this large canvas.
| | 02:25 | This area which in previous versions
of Illustrator was referred to as the
| | 02:29 | overall artboard, where I had maybe
individual crop areas inside, I now
| | 02:33 | have one large canvas and then within
that canvas, I can basically create as
| | 02:38 | many of these artboards as I want.
| | 02:41 | So let's zoom back in here again and
the way that you work with these artboards
| | 02:44 | is you simply go to the Tool panel
and you click on the Artboard tool.
| | 02:48 | That puts you into Artboard Edit Mode.
Inside this Artboard Edit Mode, everything
| | 02:52 | else grays out and I just see the
artboards itself. You will notice here that
| | 02:55 | they are numbered. This one is called 01,
02, 03, 04 and I can simply click on
| | 03:01 | each of these. As I click on one, that
one becomes the active artboard and I
| | 03:05 | have the ability to either resize them
and to reposition them as I want to really
| | 03:09 | anywhere on the overall canvas. As
we'll see these lines pop up that help
| | 03:14 | align these guys. These are Smart
Guides and a little bit later on in this
| | 03:17 | video title we'll talk more about the
new Smart Guides feature available here
| | 03:21 | inside of Illustrator, but I have
the ability to position these artboards
| | 03:24 | anywhere that I want to.
| | 03:25 | So let me jump back here for a minute
and soon as, by the way, you choose any
| | 03:28 | other tool, you'll jump back out of
that Artboard Edit mode. If I go up back
| | 03:31 | here to this multiple artboards
document, you will notice that if I click
| | 03:34 | anywhere inside of this file I have
now just made this artboard the active
| | 03:38 | artboard. So the way that Illustrator
chooses an active artboard is wherever
| | 03:42 | you click. For example, I click over
here and this becomes the active artboard,
| | 03:45 | this becomes the active artboard.
| | 03:46 | So it is really necessary that you have
to do specifically to make an artboard
| | 03:50 | active; as you work on each artboard,
that one automatically becomes active.
| | 03:54 | Why is that important? Well, if I
choose now Command+0 or Ctrl+0 to fit in
| | 03:58 | window, the active artboard fits inside
of my window. If I were to zoom out now
| | 04:03 | for example, click on let's say
this label down here and press the same
| | 04:06 | Command+0; now, that one fits my screen.
| | 04:09 | So basically, it works automatically.
As I'm working on a piece of artwork that
| | 04:13 | particular artboard becomes the one
that is in focus. Same thing applies when
| | 04:17 | I'm using Save For Web. Whichever one
is the active artboard, that's the one
| | 04:21 | that gets exported out when I choose
the Save For Web feature. In fact, this whole
| | 04:25 | feature in itself is really integrated
very well throughout the entire program.
| | 04:29 | I could jump to specific artboards by
going here to the bottom; almost like in
| | 04:32 | InDesign. I just choose and go
specifically to three or to artboard
| | 04:36 | number two or to artboard number one
and that will automatically take me to
| | 04:39 | those particular areas.
| | 04:41 | I also have little forward and back
buttons where I can step through them as well.
| | 04:45 | I can also go to the View menu
and choose Fit Artboard in Window or
| | 04:50 | Fit All in Window and in doing so, I now
have all of the artboards that I'm working
| | 04:54 | with all fitting and zoomed within a
single window. I'm going to go to the
| | 04:58 | Print command for a minute here because
I want to show you that again, this is
| | 05:00 | integrated very well throughout the
program. If I go over here to the Print
| | 05:04 | Preview, I see that I now have four
artboards available and each of these
| | 05:07 | artboards will print on separate pages.
If I choose the Fit to Page option,
| | 05:11 | I now can see that I can actually
step through the individual ones right
| | 05:14 | here and print them out as I need to.
I can specify to print all the artboards
| | 05:18 | or I can specify a range. For example,
only print artboards number one and
| | 05:22 | number three. I have the ability also
to choose Ignore Artboards. If I do that,
| | 05:26 | Illustrator treats all of my artwork or
the entire canvas as if it is were one
| | 05:30 | page and I can print all the
artboards on a single document.
| | 05:34 | The same thing that I'm doing here
also applies with how I create PDF
| | 05:37 | documents. When I save a PDF document,
I can either choose to have all of
| | 05:41 | artwork appear within one big PDF file
or I can choose to have each artboard
| | 05:47 | exported as its own page within one
single PDF file. The workflow is fantastic.
| | 05:52 | Now, let me show you one other thing
here as far as working with artboards
| | 05:55 | itself in this document. If I go into
Artboard Edit mode and again, I'll do
| | 05:59 | that by clicking on the Artboard tool,
you will see that there are some options
| | 06:02 | at the top of my screen. When I click
on this particular artboard right here,
| | 06:06 | for example, Letterhead. As I move it,
you will notice that the artwork for the
| | 06:09 | Letterhead moves as well. If I go over
here to this button here, this one says,
| | 06:14 | Move Or Copy Artwork with The Artboard.
By unchecking that, I can move the
| | 06:19 | artboard itself and leave the artwork in place.
| | 06:21 | So I can choose to either move the
artboards on their own or to move the
| | 06:25 | artwork along with the artboard simply
by choosing that option. There are other
| | 06:28 | options here available as well. If I go
ahead and I click on this button called
| | 06:31 | Artboard Options, I can specify the
exact settings for those. I also have the
| | 06:35 | ability to show the center mark or to
actually see different rulers for each of
| | 06:40 | these particular artboards as well.
| | 06:42 | Another way to exit Artboard Edit mode
is to simply type the Escape key on your
| | 06:46 | keyboard. So there is really a lot more
depth into the actual multiple artboard
| | 06:50 | feature in itself, but this is a great
overview and basically giving you the
| | 06:53 | ideas of what you can do with
multiple artboards and how they can be used
| | 06:57 | inside of your workflow.
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| The improved Appearance panel| 00:00 | Back in Illustrator 9.0, Adobe
introduced the Appearance panel and I have
| | 00:04 | always spoken about in my teachings how
important the Appearance panel is when
| | 00:07 | you are working inside of Illustrator.
| | 00:08 | Well, now inside of Illustrator CS4,
the Appearance panel gets a makeover and
| | 00:13 | that's really fantastic to the point
where the Appearance panel now really
| | 00:16 | needs to be the main focal point of how
you work inside of Illustrator. Let me show you.
| | 00:21 | I'm going to ahead to the Appearance
panel and drag out the tab, just so that
| | 00:25 | we can see and focus directly on what
we are seeing here inside of the panel.
| | 00:28 | Now I'm going to start off first by
drawing a regular rectangle here. In the
| | 00:32 | past the Appearance panel just showed
me the settings or attributes for any
| | 00:36 | particular selected object group or
layer, but then I would need to go
| | 00:39 | elsewhere to make those changes.
| | 00:40 | Well now the Appearance panel allows
me to specify settings directly through
| | 00:44 | the panel itself. Let me show you. So
I'm going ahead. I'm going to select this
| | 00:48 | particular rectangle. Notice now it's
says that I have a black stroke that is 1 pt.
| | 00:51 | If I wanted to change the stroke
color, I can simply click on it and I get
| | 00:55 | the pop up right here. Change it maybe
to green, for example. If I wanted to
| | 00:58 | change the stroke width itself, I can
do that again, right from the Appearance panel.
| | 01:03 | I can choose the Fill setting here. I
could go on the bottom here and choose to
| | 01:06 | duplicate the selected items. So now
I have two fills on my object. I will
| | 01:10 | press undo for a second here. I jsut
want to show you if I wanted to change or
| | 01:13 | modify some of the stroke settings
some more, I could actually click on the
| | 01:16 | word Stroke and access the entire Stroke panel,
again directly through the Appearance panel.
| | 01:20 | So there is almost no need for
me to even to go to the Control panel or
| | 01:24 | to the Swatches panel, to the Stroke
panel; they all are available now, all
| | 01:27 | these settings directly from
the Appearance panel itself.
| | 01:30 | Now if you wanted to add a live
effect, you can go to the Effect menu,
| | 01:34 | for example, let's say I wanted to add a
Drop Shadow. I will go up and I choose
| | 01:37 | Stylize. Then I will choose Drop Shadow.
Click OK to take the regular settings
| | 01:41 | that's there and now I have this shadow
that's been applied to this shape right here.
| | 01:45 | Notice that the Drop Shadow appears
here within an underline. One click on that
| | 01:48 | Drop Shadows allows me to bring up
those settings. We go ahead and add some
| | 01:51 | Offsets here, let's maybe do, offset
that by 6 points and click OK and I will
| | 01:57 | get the Drop Shadow that's down there.
So to edit shapes, I can very easily do
| | 02:00 | a single click on the effect itself.
| | 02:02 | Now if you look to the left, you will
see that there are eyeballs here very
| | 02:05 | similar to the eyeballs that you find
in your Layers panel. So this allows me
| | 02:09 | to actually hide that effect. So if I
wanted to see what this object looked
| | 02:12 | like without the Drop Shadow, but I
don't want to remove the Drop Shadow.
| | 02:15 | I just want to see what it looks like
without it. I could simply hide that by
| | 02:18 | un-checking the eyeball. Now the Drop
Shadow is no longer on the object. Then I
| | 02:22 | can go ahead and I can click on this
again to bring that Drop Shadow back.
| | 02:24 | This is actually fantastic because it
allows me to experiment and to control
| | 02:29 | the settings for any particular object
group or layer that I have selected. Let
| | 02:34 | me focus on some of the object that I
have here in my file and you get a much
| | 02:36 | better idea what I mean by this. So I
was working on this particular license
| | 02:40 | plate design, it's a Hawaii
license plate and I have here this word
| | 02:43 | 1LSATR8R (ph: Illustrator). If I click on this,
you will actually see this is actual live text.
| | 02:46 | I can click on this and I can select this.
I'm actually using a font here
| | 02:50 | called Helvetica Rounded, which you
may not have loaded on your system if you
| | 02:54 | are using this file. It's called appearance_panel.ai.
| | 02:57 | But you can of course substitute any
other font for that if you would like to
| | 03:00 | and you will notice that over here,
when I click on this object in my
| | 03:02 | Appearance panel, it says that I
have my Type object targeted and I have
| | 03:06 | several different Fill shapes here
and I also have a Stroke which is set to
| | 03:09 | none. Now if I wanted to see the
settings for each of these fills, I can click
| | 03:12 | on this twirldowns and I
could see the settings here.
| | 03:15 | Let's go ahead and expand this Appearance
panel here and I could see that each of
| | 03:18 | these fills have different settings.
For example, this bottom fill here is
| | 03:21 | filled gray and has a Transform
effect, the Gaussian Blur and an Opacity
| | 03:25 | setting set to Screen and that's
what gives me the ability to apply this
| | 03:28 | embossed look on this license plate.
| | 03:31 | But as I'm working, I can experiment
with my design and basically turn on and
| | 03:35 | off these different settings. For
example, I could just hide the whole
| | 03:38 | bottommost fill over here and now that
particular part is gone or I can hide
| | 03:41 | this particular fill right here as well
or let me go ahead and turn those fills
| | 03:45 | back on again and let's see what this
would look like if I had taken off the
| | 03:47 | Gaussian Blurs.
| | 03:49 | So in this way, as I'm working with my
particular file, I could experiment with it,
| | 03:53 | see how the settings are and work
with it. This way I may be able to apply
| | 03:57 | maybe several effects at once and
then quickly just toggle the visibility of
| | 04:00 | each of those particular effects as I
work with them. And again it's very easy
| | 04:03 | for me to make changes directly.
If I wanted to change the Opacity, I can
| | 04:07 | simply click on that, change the Blend
mode here from Screen to something else.
| | 04:11 | If I wanted to change the fill color,
I can access all this right here. Very,
| | 04:14 | very simple. I could also of course change any
of these as well directly from the Swatch panel.
| | 04:19 | If I Shift-click on this right here,
you will see that I bring up the sliders
| | 04:22 | here and I can of course Shift-click
here as well to change between the RGB,
| | 04:25 | HSB and CMYK sliders. So very easily
I could really work with my artwork
| | 04:30 | directly through the Appearance
panel without having to go elsewhere. So
| | 04:34 | it's a tremendous amount of power.
The Appearance panel is now far more
| | 04:36 | easier to use. I can even access
effects directly through the Appearance panel.
| | 04:40 | So rather than go digging through the
Effect menu and try to find an effect here,
| | 04:43 | I can go straight down to the
Appearance panel and choose to apply an effect,
| | 04:46 | for example, 3D, directly here
through the Appearance panel.
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| The new Graphic Styles behavior| 00:00 | When working with many objects,
graphic styles allow you to make your workflow
| | 00:03 | that much more efficient. Well now
inside of Illustrator CS4, there are some
| | 00:07 | new functionality built-in to graphic styles.
| | 00:10 | Just as a quick overview, for how you
create graphic styles. If you were to
| | 00:13 | select any object itself, let's say
you wanted to create a graphic style for
| | 00:15 | maybe adding an effect like a Drop Shadow
for example, I could go down to the
| | 00:19 | Appearance panel here. Notice that
I've my group targeted of that particular
| | 00:22 | shape and I could choose Add New Effect.
And maybe we will go ahead and go to
| | 00:25 | Stylize here and we'll add a
Drop Shadow effect. Click OK.
| | 00:27 | Maybe we also want to add some kind of
roughen effect to that particular object. So,
| | 00:32 | we are going to go ahead. I'll choose
here from the Effect menu, let's do a
| | 00:35 | Distort & Transform, let's do a
Roughen. This is something that's just
| | 00:38 | a little totally crazy, something like
that, click OK. And now I have that effect
| | 00:41 | that I've applied. If I want to apply
that effect to other objects, I could
| | 00:45 | very simply define that as a Graphic
Style. The graphic style captures all the
| | 00:48 | information that is now shown
here in the Appearance panel.
| | 00:52 | A quick way to do that by the way is to
simply just take this little icon that
| | 00:55 | appears right here and drag it into
the Graphic Styles panel. One of the new
| | 00:58 | features of the new user interface
now inside of Adobe Create CS4
| | 01:03 | is something called spring-loaded panels.
Notice that I just clicked and
| | 01:05 | dragged on that icon directly over to
the tab here with the Graphic Styles
| | 01:08 | panel, it switches to Graphic Styles panel.
See if I go back to Appearance and I
| | 01:12 | hover over there, it jumps to
Appearance. I will go ahead and move over here,
| | 01:15 | still holding the mouse button down and
it jumps over to the Graphic Styles panel.
| | 01:19 | Now, I'll just drop that right over here
and I've defined that style that contains
| | 01:22 | a drop shadow and also that Roughen
effect, which I can then apply to other
| | 01:26 | objects. For example, like this one right
here, click on that and then apply that
| | 01:29 | exact same effect here. So, that's one
of the beautiful things about working
| | 01:32 | with graphic styles. Now, let's see some
of the new features that were added in
| | 01:35 | the graphic styles as well. For example,
sometimes you may find it difficult to
| | 01:39 | get an idea of what your artwork is
going to look like that style is applied.
| | 01:42 | So, for example, if I were to click on
let's say these little flip-flops right here,
| | 01:45 | I could come over here
to the Graphic Styles panel.
| | 01:49 | I'm on the Mac right now, so I'll
hold down the Ctrl key and click on the
| | 01:52 | little icon, then it shows me a
preview what that artwork is going to look
| | 01:55 | like when that style is applied. If
I were on the PC by the way, running
| | 01:59 | Windows, I would simply just right-
click on that icon and I will see that exact
| | 02:02 | same preview. This works great for
text as well because sometimes with text,
| | 02:06 | it can be difficult to understand or
visualize what that effect might look
| | 02:09 | like. If I have this text selected
right now, again I can Ctrl-click or
| | 02:13 | right-click on this particular icon
right here, I get a preview what this text
| | 02:16 | is going to look like.
| | 02:17 | Same thing applies to some of these as
well. For example, that artwork or this
| | 02:20 | artwork. Let's explore some of the
other things that are really cool about the
| | 02:23 | way that graphic styles work. Right now,
at least in the previous versions of
| | 02:27 | Illustrator, when you applied a
graphic style, that style basically was an
| | 02:30 | override. It would simply replace
all the attributes of that particular
| | 02:34 | object with the new ones that are
there inside of the style. So, to just give
| | 02:37 | you an idea what I'm talking about,
if I go ahead and I click on the word
| | 02:40 | Surfing right here, this text that I have,
| | 02:42 | and I go ahead and let's say click on this
setting here called Dark Arrows Arched
| | 02:45 | Highlight and I get that nice looking
effect there for my text. Let's say I
| | 02:48 | also want to add a Drop Shadow so I
use this here effect and I click on that.
| | 02:53 | Well, that adds a Drop Shadow, but that
wipes away or basically blows away the
| | 02:56 | settings that I had for the other
graphic style. So, whenever you choose to
| | 03:00 | apply graphic style, it replaces the
new style with the one that was there before.
| | 03:05 | Now, however inside of Illustrator
CS4, you do have the ability to add on
| | 03:10 | styles. In other words, basically
create like building blocks, where we can create
| | 03:14 | or add one graphic style to an object
and then rather then replace them, you can
| | 03:18 | append additional styles to that
particular setting as well. So, to show you
| | 03:21 | what I mean, if I were to go back over
here to this setting right here where it
| | 03:24 | says Dark Arrows Arched Highlight and
apply that, if I now also wanted to add a
| | 03:28 | shadow, I can go here and hold down the
Option key or if I was on Window, hold down
| | 03:32 | the Alt key and then click on that.
| | 03:34 | When I do so, it adds that
particular graphic style or appends it to that
| | 03:38 | particular shape as well. So, it does
not blow away the other settings; it simply
| | 03:41 | takes whatever is in this style and
continues to add it to this particular
| | 03:45 | style as well. So, now what I'm doing
is I'm basically combining styles. One of
| | 03:49 | the cool things if you go over here to
the flyout menu in the Graphic Styles
| | 03:52 | panel is I also have the ability here
to choose Open Graphic Style Library and
| | 03:56 | you will notice that there are
certain things here called Additive.
| | 03:58 | If I choose Additive right here, let
me go ahead and position this right down
| | 04:01 | here so we can see that. I can very
simply click on this and maybe if I want
| | 04:05 | to make a duplicate of this or a
reflection of this, I can hold down the
| | 04:08 | Option key on a Mac or the Alt key on
the Windows and click on this effect here
| | 04:11 | called Live Reflect and that creates a
copy of that and it does not again
| | 04:16 | blow away the additional
effects that I had there before.
| | 04:18 | Let me press Undo for example. Let me
click on let's say this setting here, which
| | 04:22 | is for the surfboard, and I don't even
like the way that this appears right here.
| | 04:24 | I'm just going back to the regular Drop
Shadow,. I don't need to have the Roughen
| | 04:27 | effect that's there as well. But if I
wanted to create let's say a whole bunch
| | 04:30 | of surfboards in a circle, I can again
hold down the Alt key or the Option key
| | 04:34 | and then click on this and then create
a whole bunch of those as well. But it
| | 04:37 | maintains the same settings that I had before,
the same Red Fill and the same Drop Shadow.
| | 04:42 | But now it's added an additional
setting, which is a Transform effect which
| | 04:46 | creates additional copies that are now
transformed in a circle. So, it's very,
| | 04:50 | very cool that you could use these
effects in this way. So, there are also
| | 04:54 | other really great things about
graphic styles itself and again they all
| | 04:57 | interface with the way that other features
work. For example, there is a great way
| | 05:00 | to use the new Blob Brush inside of
Illustrator CS4 which we will get in a
| | 05:03 | couple of movies from now.
| | 05:05 | But working with graphic styles now
is far more enhanced. In fact one of the
| | 05:09 | key little feature that's available in
graphic styles, notice that the previews
| | 05:12 | that I see here are all applied to
regular rectangles. But if I do go to the
| | 05:16 | flyout menu here of the Graphic Styles
panel, I can choose to use text with the
| | 05:20 | preview and that basically shows me
what these particular styles would look
| | 05:23 | like when applied to text objects.
| | 05:25 | So, again, just an easier way to work
with graphic styles, to apply them to
| | 05:29 | your objects, again you can append
them now and additionally, you have a much
| | 05:32 | more intuitive way of interfacing with
the graphic styles themselves directly
| | 05:36 | through the Graphic Styles panel.
| | Collapse this transcript |
| Enhanced clipping masks| 00:00 | If you've ever tried masking objects
with Illustrator in the past, you've
| | 00:03 | already found the process to be very
difficult. For example, even though
| | 00:06 | objects were not able to be seen inside
of Illustrator, masked objects were still
| | 00:10 | able to be selected. That made it very
difficult to work with multiple objects.
| | 00:14 | For example, if I were to mask this
artwork inside of this surfboard up here,
| | 00:18 | even though the artwork would be clipped
at this point over here, where it'd only be
| | 00:21 | visible until here, I would still be
able to select that artwork by clicking
| | 00:24 | somewhere over here, which always
made it difficult to work on this object.
| | 00:27 | Basically, anybody who worked with a
lot of masks before inside of Illustrator
| | 00:31 | went through the process of locking
and unlocking objects all day long. Well,
| | 00:35 | now inside of Illustrator CS4, the
clipping mask behavior has been greatly
| | 00:38 | improved, so much so that it now
becomes extremely easy to work with clipping
| | 00:42 | masks. Let's take a closer
look and see what that is.
| | 00:45 | So let's focus on the top surfboard
right here. I have this artwork that I've
| | 00:48 | created, these beautiful lines that
I've created, these kind of waves, and I
| | 00:51 | want to be able to mask or clip this
particular artwork inside of the shape of
| | 00:55 | this surfboard. So what I've done here
is I've actually created a object here,
| | 00:59 | as I go ahead and I move this, you'll
see that I have this outline that matches
| | 01:02 | the same shape of this surfboard itself
and I'm going to use that as the mask.
| | 01:06 | Now as it was always inside of
Illustrator, the way that you create a mask is
| | 01:10 | you take your artwork, then you create
another shape. That shape is going to be
| | 01:13 | the mask. You bring that shape to the
top of the stacking order and then you
| | 01:17 | select both the shape and the
artwork and you create that mask.
| | 01:19 | What I'm going to do here, I'm going to
take this piece of artwork that I have
| | 01:22 | selected, and again, I can choose
Object > Arrange. I could choose Bring to
| | 01:27 | Front, but right now it is sitting at
the top of this stacking order and I'm
| | 01:30 | going to also hold down the Shift key
and select the artwork here. So I have
| | 01:33 | the artwork that I've created, which is
a group, and I now have that path that
| | 01:36 | I have on top, which is going to be
the mask, and that is going to clip that
| | 01:40 | particular artwork. I'm now going to
go over to the Object menu. I'm going to
| | 01:43 | choose Clipping Mask > Make.
| | 01:46 | Notice now that the artwork is no
longer visible outside of the shape, I can
| | 01:49 | only see the artwork inside of the shape,
which is what I intend. But if I now
| | 01:52 | mouse over to this part of the shape
here, even though that artwork exists here,
| | 01:56 | I can no longer select it,. This is one
of the great things now about the new
| | 01:59 | clipping mask behavior. In fact, anybody
who's ever used Freehand before would
| | 02:02 | appreciate this because this
is how Paste Inside used to work.
| | 02:05 | So I can only select the artwork when
I click inside the mask over here, and
| | 02:08 | what I can do is double click on that,
and we will talk a little bit later on
| | 02:11 | in this particular title about the
new Isolation mode feature inside of
| | 02:15 | Illustrator and that will allow me to
kind a dive into that mask. Now once I'm
| | 02:19 | inside of that, I can now go ahead and select
and work with that artwork if I want to. By double-
| | 02:23 | clicking outside, I'm no longer now
inside of that mask. I cannot select those
| | 02:27 | particular objects of that particular
artwork. Let's focus now on the bottom here.
| | 02:31 | I just want to show you I have
here a photograph that I brought into
| | 02:33 | Illustrator and I applied the Live
Trace feature too. So this has the Live
| | 02:37 | Trace setting applied to it. In fact, I
can go here and I can see that these are
| | 02:40 | the settings that I've used for the
Tracing Options. I'm going to click on
| | 02:43 | Cancel for a second. And again, I
want to mask this photograph inside of that
| | 02:47 | shape. Again, I have a shape here that
I've created that matches the same size
| | 02:50 | of the surfboard.
| | 02:51 | I've brought that shape to the front of
my stacking order. I can hold down the
| | 02:55 | Shift key and select both the shape and
the photograph that I want to mask,
| | 02:59 | go to the Object menu, choose Clipping
Mask > Make. The keyboard shortcut is
| | 03:02 | Command+7 or Ctrl+7 on Windows. Once I
do that, that photograph is now masked
| | 03:07 | inside of that shape. So it's clipped
beautifully and I cannot select the
| | 03:11 | photograph anywhere here. Again this is
the new behavior of clipping masks now
| | 03:15 | inside of Illustrator CS4.
| | 03:17 | If I want be able to access that
particular image, I would now simply double-
| | 03:20 | click and now I've isolated that mask.
Now I can get at the photograph and I
| | 03:24 | could see that shape here, but normal
editing, when I'm not inside of that
| | 03:28 | Isolation mode, I cannot select that
image and that makes it easy for me to
| | 03:31 | move other objects that
are in that particular area.
| | 03:33 | Just one important thing to know, this
new behavior of how this clipping masks
| | 03:36 | work, only apply to clipping masks
that you've applied to the Object menu.
| | 03:41 | However, if you are applying layer
masks or a layer clipping masks, those do
| | 03:45 | not take on this new behavior and those
still work in the old way. So in order
| | 03:48 | to take advantage of the new way, you
would go to the Object menu and choose
| | 03:51 | Clipping Mask > Make.
| | Collapse this transcript |
| The all-new Expressive Blob brush| 00:00 | I have always found it somewhat
ironic that Adobe Illustrator, which is the
| | 00:03 | premier illustration program, is not
really the most intuitive program to use
| | 00:07 | when you are actually trying to draw
something. I know a lot of artists
| | 00:10 | and animators who prefer drawing
inside of programs like Photoshop or Painter
| | 00:13 | for that matter.
| | 00:14 | Well, that kind of changes somewhat
inside of Illustrator CS4 with this new
| | 00:18 | feature called the Blob Brush. Now I
will talk more about the Blob Brush in a
| | 00:21 | minute, but first let's explore the
Paintbrush tool inside of Illustrator and
| | 00:25 | see what the issues are with using
that. Now the Paintbrush tool is a great
| | 00:29 | tool because it allows you to actually
use pressure sensitivity. In fact, right
| | 00:32 | now whether you can see it, in my
left hand I have a Wacom pen. I'm using a
| | 00:36 | pressure sensitive tablet,
an Intuos3 tablet. Now what I'm going to
| | 00:38 | do is I'm going to my Paintbrush tool
right here and I'm actually going to go
| | 00:41 | over to my Brushes panel. I'm going to
double click on this setting right here.
| | 00:44 | I'm going to make sure right over here
that my Diameter is set to 10 point and
| | 00:47 | notice that I have Pressure turned on
and my Variation is set to 10. This means
| | 00:51 | the lightest that I would ever press
will give me nothing whatsoever, but the
| | 00:55 | harder I press, that stroke would basically
expand up until 10 points. I'm going to
| | 00:59 | click OK, and I move here to the side
of the screen so you could see exactly
| | 01:03 | what happens when I use the Paintbrush.
| | 01:04 | Now, I get this pressure sensitivity
as I start to draw the shapes here, but
| | 01:08 | notice if I were kind of drawing a
shape like this, if I go into Outline mode
| | 01:11 | right now, you will see that what
basically created when I use the Paintbrush
| | 01:14 | tool is a single path and then I have
an appearance of that path, that's added
| | 01:18 | to it to make it look like it's thinner
or thicker in that particular way. Now,
| | 01:21 | that's very nice and it works very
well inside of Illustrator. However,
| | 01:24 | it makes it difficult when I want to edit
or make changes to it. For example, if I
| | 01:28 | wanted to use the Eraser tool and
I kind of move a part of this,
| | 01:31 | there is nothing that I can do. It kind of
splits it and break it apart that way because
| | 01:34 | there is no way to remove just that part
of the appearance in the path. I'm going to
| | 01:37 | go ahead and press Undo for a second here.
| | 01:39 | Another issue that I have is if I want
to change its color. For example, if I
| | 01:41 | want this to have let's say a black
stroke in a white fill, by choosing the
| | 01:46 | white fill here, for example, it kind of
throws the whole thing out of whack. So I
| | 01:49 | don't really have the ability to add a
fill here because it's using the stroke
| | 01:52 | color. So I'm going to press Undo there
for a second and let's get rid of this.
| | 01:56 | Really the way that I actually would
want to work with this, if I wanted to go
| | 01:59 | through the steps, is it would be a manual
process. I will go ahead and I would draw
| | 02:02 | the shapes the way that I have them,
then I'd have to go to the Object menu,
| | 02:05 | choose Expand Appearance. That would
actually convert them into filled
| | 02:08 | shapes. I then have to use Pathfinder
to combine them all to one combined shape
| | 02:12 | and then I go ahead and I apply a fill
and a stroke to that particular object.
| | 02:15 | I'm going to press Delete here because
I want to show you how the Blob Brush
| | 02:18 | works inside of Illustrator. If I go
down over here, this new Blob Brush,
| | 02:21 | nice little icon that's right here. I'll be honest with
you. I don't necessarily agree with the name Blob Brush.
| | 02:25 | It's kind of a like blah kind of name
but I will tell you that it is also is
| | 02:28 | very descriptive about how the brush
actually works. I'm going to double-click
| | 02:32 | on it and you will see that there's
settings here for this tool. I'm going to
| | 02:35 | again make sure that the size here
is maybe set to around 10 point. I will make
| | 02:38 | sure that the Pressure is on and the
amount of Variation is also set to 10
| | 02:41 | point. So the same settings I had
before that I was using for the Paintbrush,
| | 02:44 | but now I'm going to use this for the
Blob Brush. If I click OK, I now get
| | 02:47 | this and if I start to draw shapes like
this, just to show you what this looks
| | 02:51 | like, if I go into Outline mode right
now, you will see that these have already
| | 02:55 | been combined now into one shape. So
basically as I was painting, behind the
| | 02:59 | scenes what the Illustrator did was
it expanded those brush strokes and
| | 03:03 | combined them using Pathfinder into one
editable shape. This makes it possible
| | 03:06 | for you to simply click on that and
change its color or change its stroke or so
| | 03:10 | on and so forth as I'm working.
It's extremely powerful.
| | 03:13 | So let me go ahead here, let me set my
setting back to the way that I had it
| | 03:16 | before and let's explore some other
ways that I might be able to use the Blob
| | 03:19 | Brush. For example, you will notice
that as I go ahead and maybe come over to
| | 03:22 | this particular area here. I will just
zoom in over here. I can start to paint
| | 03:27 | and draw as I do this. I will go
ahead and I will just draw the shape right here.
| | 03:33 | And remember these all being
combined now into one shape and I have a very
| | 03:36 | nice way to just to make this a very
expressive way of drawing and if I decide
| | 03:40 | that I want to really kind of remove
let's say a little mistake or something
| | 03:43 | else over here as well, that's very
easily done because the same way that the
| | 03:47 | Blob Brush works, it takes on an
additional meaning when you start using the Eraser
| | 03:51 | tool inside of Illustrator as well.
Now the Eraser tool was introduced inside
| | 03:54 | of Illustrator CS3, but now coming out
with the Blob Brush, it has a new meaning.
| | 03:58 | I'm going to double-click on the Eraser
tool and you will see that the settings
| | 04:01 | almost look exactly the same as they
do for the Blob Brush and I can specify,
| | 04:04 | for example, a 10 point Diameter with
Pressure and 10 point Variation and have
| | 04:08 | almost the exact same settings for
that. And I can go ahead simply erase parts
| | 04:12 | of the path as I need to. So very
easily I can start to go in and work with
| | 04:15 | paths. Remember these are all one
filled shape that I can work with very
| | 04:18 | easily. In fact, I don't even need to
use the Eraser tool at all because my
| | 04:22 | Wacom pen has a tip on one end,
but an eraser on the other end.
| | 04:25 | And Illustrator can automatically swap
between these two different tools. So I
| | 04:29 | can be painting with one motion here
basically as I go ahead and I do this and
| | 04:32 | by the way, I could use my bracket
keys on my keyboard to make my brush size
| | 04:35 | smaller and get like different shapes
for example like that if I want to.
| | 04:39 | Very, very nicely done, just like that for
example. And then I can just flip my pen
| | 04:44 | over to the eraser side and just kind
of move away and work with the eraser on
| | 04:48 | that end. So I have a very easy way to
have almost a completely new expressive
| | 04:52 | way of working in drawing here inside
of Illustrator with a Blob Brush. What's
| | 04:55 | really cool about the Blob Brush also
while we are here is that the way that it
| | 04:59 | works is it allows you to actually
control what does or does not get
| | 05:02 | merged together. For example, let me
change the color of this particular shape
| | 05:07 | right here. Maybe change it to let's
say, yellow. Now I were to go ahead now
| | 05:11 | and if I hit the D key to go back to
default, if I use the Blob Brush now,
| | 05:15 | which is going to be painting with
black and let me make the brush size a
| | 05:17 | little bigger, it will not merge
with that yellow. So the Blob Brush only
| | 05:21 | merges with similar colors. So if I
were to paint now with yellow then
| | 05:24 | those strokes would merge with this
yellow shape right here. But since I'm
| | 05:28 | painting with black those actually get
merged as a separate shape. So the color
| | 05:32 | that I'm working with
does control how I'm working.
| | 05:34 | Now another really cool thing about
working with the Blob Brush is tied with how
| | 05:37 | graphics styles now work inside of
Illustrator. Now we discussed before that
| | 05:40 | there is the ability now to create
these additive graphic styles. So what's
| | 05:44 | really cool as I can actually choose
to select a graphic style first and then
| | 05:48 | paint with that particular graphic
style. What do I mean by that? Well, I'm
| | 05:51 | going to go over here Graphic Styles,
for example. I'm actually going to load
| | 05:53 | some of the graphic styles that ship
with Illustrator. For example, there is a
| | 05:56 | one called Additive specifically for
the Blob Brush and when I go ahead and
| | 06:00 | choose that, I see now there are
different Blur settings that have already been
| | 06:03 | applied. For example, this one here has
Blur 18 point, 18 pixel. So now if I go
| | 06:07 | ahead here and I take the Blob Brush
and I start to draw, this is actually
| | 06:10 | going to go ahead and create almost
like an airbrush and remember these all get
| | 06:13 | merged as I start to draw them. So now
I have a really new way to start drawing
| | 06:17 | inside of Illustrator. It is intuitive.
I can have softness applied as I'm
| | 06:20 | painting. I can erase it, very
easily just flip my pen over and start to
| | 06:24 | erase different areas of that as well.
It's all pressure sensitive. It's a
| | 06:26 | great way of now working inside of
Illustrator and maybe, just maybe,
| | 06:31 | Illustrator now has a really easy
and intuitive way to not only edit your
| | 06:35 | graphics, but also create them as well.
| | Collapse this transcript |
| Easy-to-edit transparent gradients| 00:00 | Working with gradients can add a whole
new level of sophistication, depth, or
| | 00:03 | realism to just about any design and
while managing gradients in the past
| | 00:08 | inside of Illustrator has always been
somewhat challenging. Illustrator CS4
| | 00:11 | introduces a whole new way working
with gradients. More importantly, there is
| | 00:15 | all new functionality that's been added to
the gradient feature itself. Let's take a look.
| | 00:20 | I'll start off by going to the
Swatches panel and loading some of the preset
| | 00:23 | gradients that come with Illustrator.
So I'll choose Gradients here and since
| | 00:26 | this is a surfing theme, I'll go ahead
and we'll choose Water and I'll add just
| | 00:30 | of few of these to the Swatches panel
right here inside of Illustrator. Just
| | 00:33 | arbitrarily take a few of these, maybe
we'll bring this one here that's called Water
| | 00:37 | With Horizon 5 and I'll close this
Water panel right here and the first thing
| | 00:41 | you'll notice in the Gradient panel
itself that there is now a pop-up menu
| | 00:43 | here. If I click on this button, I now
can access all the gradients that are
| | 00:47 | available inside of the Swatches panel
directly. So for example, I can simply
| | 00:51 | click on this shape right here and come
right to the Gradient panel and apply a
| | 00:55 | gradient right from the Gradient panel.
I'm going to change its rotation so
| | 00:58 | that it may be around -900 degrees. That way
I get the horizon set that I want it, but what's
| | 01:02 | really great is how you actually
can edit these particular gradients.
| | 01:05 | So as you know inside of the Gradient
panel, I have right now this bar, which
| | 01:10 | is my Gradient slider. Beneath the
Gradient slider are these icons, which are
| | 01:13 | called gradient stops. Those identify
the colors that appear in the Gradient
| | 01:18 | and on the top of the Gradient slider
are these little diamond shaped icons
| | 01:21 | which are midpoint indicators and
those basically identify the exact point
| | 01:25 | where these two colors, where the
two colors that are identified by the
| | 01:29 | gradient stops meet at the halfway
point. And of course, you can go ahead and
| | 01:33 | drag and edit those and see how they
are up there on the screen. But there is
| | 01:36 | always been somewhat of a disconnect
between what I see here and what I'm
| | 01:38 | working with in my screen.
| | 01:40 | Well, now inside of Illustrator,
you can actually edit your gradient in
| | 01:42 | context. Let me show you what I mean.
I'm going to go ahead here to the Tool
| | 01:45 | panel, I'm going to click on the
Gradient tool and right away you'll see this
| | 01:49 | object now displays a widget that kind
of starts over here at the top and goes
| | 01:53 | all the way towards the bottom. This
is what we call the Gradient widget and
| | 01:57 | the circle on the top over here, this
white circle identifies the beginning or
| | 02:00 | the start point of my linear
gradient and at the bottom over here this
| | 02:04 | basically determines the endpoint of it.
Now as I move my mouse over it you can
| | 02:07 | see that it pops up, it changes
somewhat and it shows me actually where the
| | 02:11 | gradient stops are and the midpoint
indicators are. Now it's one thing to
| | 02:15 | actually show me that, but what's
great about the widget itself is I can
| | 02:17 | actually edit these. For example, I'm
going to move over here to the top part.
| | 02:21 | I can move my mouse over here and
actually adjust the gradient stop right here
| | 02:25 | in context. So I don't need to
actually go to the Gradient panel, I can do it
| | 02:28 | right here on the
gradient itself. This is great.
| | 02:31 | So what I can also do of course is
simply just take that gradient stop and just
| | 02:35 | drag it right off the gradient itself
and remove that color. If I want to add
| | 02:39 | color, I'll simply move my cursor
just to any point right off over here and
| | 02:43 | click once to now add a gradient stop.
Now what's great is that I could also
| | 02:47 | change the colors in these gradient
stops again in context directly. We are
| | 02:50 | going to double click on these little
icons and that brings up the Color panel.
| | 02:54 | In fact, I can switch between the
Swatches panel and the Color panel, adjust the
| | 02:58 | color that I see in that gradient and
then simply click off of that. I can of
| | 03:01 | course adjust the midpoint indicator as
well. I could also click on the actual
| | 03:07 | widget itself and adjust where it
actually sits in the actual shape itself. So
| | 03:12 | for example, I could start the
gradient down here. I can move it up over here
| | 03:15 | for that matter and what I could also
do is kind of move my mouse over to the
| | 03:18 | bottom and as I come to the end,
you'll see a little rotation. That allows me
| | 03:22 | to adjust the rotation or the
angle of that particular gradient.
| | 03:25 | So it's very easy for me to edit these
particular gradients in context; very,
| | 03:29 | very simple to use. Simply mouse over
these as you need to. But there is more
| | 03:32 | power here as well because what I'm
doing right now is I'm working with a
| | 03:35 | linear gradient. Let's see what happens
when I work with a radial gradient. So
| | 03:39 | let's kind of focus on this shape
that's right over here, these kind of rays
| | 03:42 | and I want to make it appear as if there
are some kind of rays here. I will click
| | 03:44 | on that and let's apply a different
gradient. Maybe this Water With Horizon 3
| | 03:48 | for example and rather than a linear
gradient, I'll specify a radial gradient.
| | 03:53 | So now I have this gradient that kind
of starts off and kind of goes off. As a
| | 03:55 | matter of fact, let's choose one
that has a little bit more of a smoother
| | 03:58 | transition inside of our horizon,
starts with one color and goes to the other.
| | 04:02 | I'll make that a radial gradient.
So what I want to do is I want to have
| | 04:05 | this color that kind of extends outwards
or radiates outwards from here. Now if
| | 04:09 | I choose the same Gradient tool, when
I click on this I now see that I have
| | 04:13 | the start point, which is in the middle
right now, and here is the endpoint and
| | 04:17 | here are the colors and I
can adjust this very easily.
| | 04:19 | What I might want to have is the
colors fade out to none. Now in the past,
| | 04:23 | inside of Illustrator you were never
be able to add a transparent gradient
| | 04:27 | stop, you always had to create maybe an
opacity mask or so on and so forth, but
| | 04:30 | now inside of Illustrator CS4 you can
actually define a gradient stop that has
| | 04:36 | an opacity setting which is fantastic.
So this is something that actually designers
| | 04:40 | have been asking for many, many years.
So watch what happens. I'm going to go over
| | 04:43 | here to this color right here. I'm
going to double click on it because I want
| | 04:46 | to change that color. Notice that I now
have an Opacity setting. I can actually
| | 04:50 | dial that opacity down to zero. Let me
go ahead and click down and slide it all
| | 04:55 | the way down to zero and I will see
that the gradient now goes from a color to
| | 04:58 | none, which is fantastic. I'm actually
going to take this color, maybe drag it
| | 05:02 | a little bit more towards this way over
here where it kind of fades out to more
| | 05:05 | of a softer transition. Let's say
just like that and now you can see that I
| | 05:08 | have created a color, then deselect that
for now, where the actual gradient fades
| | 05:13 | directly to none or to transparent.
This is actually great and I can apply this
| | 05:17 | of course, not only to radial gradients,
but of course to linear gradient as well.
| | 05:22 | Notice that in my gradient slider, you
can actually see that checkerboard pattern here.
| | 05:25 | I can apply Opacity settings.
In fact, notice that there is a little
| | 05:28 | bottom part that's kind of sticking
out over here, which indicates that
| | 05:32 | particular color stop, has an opacity
setting applied to it and these do not
| | 05:36 | have those that are there as well.
One of the really great thing about the
| | 05:39 | radial setting -- I'm going to click on
this again and choose the Gradient tool
| | 05:42 | once more -- is that when you have the
widget here, this is something that is not
| | 05:45 | available on the linear gradients, but
is available on the radial gradients, is
| | 05:48 | another circle that appears right over
here. I can actually click on this and
| | 05:51 | change this. What I'm doing now is I'm
creating not a perfect circle, because the
| | 05:56 | radial gradient that always existed in
the past always radiated out from the
| | 06:00 | center in a perfect circle. But now I
can actually create an oval, which is
| | 06:03 | great because I can now change the
shape. Again I can move this out over here
| | 06:07 | to this particular part of the
gradient and rotate that particular part as
| | 06:09 | well. So I can very easily create a
whole wide array of different types of
| | 06:13 | designs and gradients very simply,
directly in context with my design without
| | 06:17 | having to use fancy opacity masks
or other complex settings inside of
| | 06:21 | Illustrator. Just simply add your gradients,
dial in your opacity setting and edit
| | 06:25 | them right as you are working your design.
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| Intuitive Smart Guides| 00:00 | For several versions now, Adobe
Illustrator had a feature called Smart Guides.
| | 00:04 | This is a feature that was actually
turned off by default. Now however, inside
| | 00:07 | of Illustrator CS4, Adobe has
enhanced that entire feature set working with
| | 00:12 | Smart Guides and has also turned that
feature set on by default, so more people
| | 00:15 | have the visibility or the ability to
make the choice of actually using that
| | 00:19 | particular feature.
| | 00:20 | What Smart Guides does, it actually
allows you to be more efficient in your
| | 00:23 | work. It kind of gives you pointers
and helps you along as you work. For
| | 00:27 | example, notice when I mouse over that
piece of artwork, they kind of light up.
| | 00:30 | These little icons that identify Path
or Anchor for example, or other things
| | 00:34 | like text objects will be identified,
and you will also see little X Y which
| | 00:38 | identifies exactly where that falls on
the rulers of this particular document.
| | 00:42 | So let's take a closer look at what
the Smart Guides feature is and how that
| | 00:45 | works.
| | 00:45 | I'm going to start off by just going to
Preferences. When I press Command+K on
| | 00:49 | my keyboard here, that's the shortcut
for that Ctrl+K on Windows, or go to the
| | 00:53 | Edit menu and choose Preferences, draw (
ph) in Windows as well. I'm going to go
| | 00:57 | over here inside the General panel.
I'm going to switch over to the Smart
| | 00:59 | Guides panel. You will see a whole lot
of settings here called the Alignment
| | 01:02 | Guides, Object Highlighting, Transform
tools, Construction Guides, Anchor/Path
| | 01:07 | Labels, and Measurement Labels.
| | 01:08 | Now Anchor/Path Labels what I was
just showing you before, as I mouse over
| | 01:11 | certain anchor points, identifies
anchor, path, so on and so forth. I'll turn
| | 01:15 | that off for now. And Measurement
Labels are also, again, would allow me to
| | 01:19 | actually see what the measurements are.
| | 01:20 | In fact, Measurement Labels are pretty
cool, because it allows me to see the
| | 01:24 | measurement of objects as I draw them.
Let me explain. If I click OK, and I
| | 01:28 | take my Rectangle tool, notice that
as I click and drag with the Rectangle
| | 01:31 | tool, the size, I want to say right
now it is two inches by, let 's say
| | 01:35 | two-and-half inches, so on and so forth.
Those are indicative of the size that
| | 01:38 | I'm drawing. Again, as I draw my
objects, and my shapes, I will see the size,
| | 01:42 | which will allow me to kind of
quickly kind of draw out the exact size or
| | 01:45 | shapes that I need, as I'm
working in context basically.
| | 01:48 | So it's a great little feature to
have that's there. Notice of course as I
| | 01:51 | move my cursor around to start drawing,
it's identifying, these are what we
| | 01:54 | call Construction Guides. Identifying
where I might want to have something,
| | 01:57 | for example, I wanted to create a shape
that was aligned up to the top of the
| | 02:01 | surfboard here, I know that right now
that's the top of the surfboard, I can
| | 02:04 | click and drag, and I can start to
align them to the bottom of the surfboard.
| | 02:07 | I don't have to worry about measuring
it and seeing what the size are, the
| | 02:10 | guide is going to pop up, and what's
great about this feature now inside of
| | 02:13 | Illustrator CS4, is that the guides
themselves don't just zip across the entire
| | 02:17 | screen. For example, if I'm near this
particular surfboard right here, the
| | 02:21 | guide kind of stops right here, it
doesn't go all the way across to the other
| | 02:24 | side of my screen, which was very
annoying in the past before, but now it just
| | 02:27 | kind of shows me again in
context, the information as I needed.
| | 02:31 | I'm going to go again back to the
Preference settings, I will choose here
| | 02:34 | Illustrator Preferences, and choose
Smart Guide here. So I want to show you
| | 02:37 | that there is also setting for
Transform tools, which is pretty cool, and also
| | 02:41 | Object Highlighting. If I turn off
Object Highlighting, by the way you will
| | 02:44 | see, that now when I mouse over the
Path, the path itself did not light up.
| | 02:48 | But the size there does, because I
have got those measurement settings turned
| | 02:51 | on right now, when I mouse over the
objects. But because I have those Transform
| | 02:54 | settings turned on, if I click and I
move my object around, you will see that I
| | 02:57 | can very easily identify that's the
center of that object, that's the center of
| | 03:00 | that object, and I can see how I can
align objects that way very easily. And
| | 03:04 | you will notice that I have a DX and DY,
which called Delta X or Delta Y, the
| | 03:07 | difference or how far I'm moving my
particular object. For example, if I hold
| | 03:10 | the Shift key down, there is no
delta in the Y-axis, but there is in the
| | 03:14 | X-axis. And if I go up this way, for
example, I see there is no delta in the
| | 03:17 | X-axis, but there is in the Y-axis.
| | 03:19 | So it provides me information as I do
that. And if I go ahead and use this, for
| | 03:22 | example, my Rotate tool, I will see
that the rotation shows up there as well.
| | 03:26 | If I'm scaling, you know that as I
scale, I see that width and height, their
| | 03:29 | percentage as I'm doing that, I'm
holding the Shift key so I see that's
| | 03:32 | happening proportionally.
| | 03:33 | So as I'm working with a set of
Illustrator, Smart Guides makes it that much
| | 03:36 | more easy for me to see exactly what
I'm doing and again, I don't have to
| | 03:40 | worry about clicking and then
taking measurements later, or dragging out
| | 03:43 | guides, which it's important to
work with guides and within a layout,
| | 03:46 | but as I'm quickly moving things around,
I don't have to worry about relying on
| | 03:50 | those, it can very quickly just
simply move my objects around, know exactly
| | 03:54 | where they fall, and move ahead of my design.
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| The Separations Preview panel| 00:00 | Designers or prepress professionals,
those who work in print or packaging, know
| | 00:04 | that making sure that your document
is ready to go for print is extremely important.
| | 00:08 | Now, when it comes to working with
colors themselves, one must know when spot
| | 00:13 | colors are being used, when colors
are being converted to process, and how
| | 00:17 | those particular files will print
when separated. That's always been a
| | 00:20 | challenge before inside of Illustrator.
| | 00:22 | But now inside of Illustrator CS4, the
new Separations Preview panel makes it
| | 00:27 | possible to see all that on your
screen before you go to print. What I will
| | 00:30 | first do is actually change my workspace.
Illustrator now ships out a workspace
| | 00:34 | called Printing and Proofing, and all
the possible tools and necessary items
| | 00:39 | that I might need for that are all
available to me right here. You will notice
| | 00:41 | that I now have a Separations Preview panel.
| | 00:43 | I'll click on the Overprint Preview
setting, and again, this is just going to
| | 00:47 | be a much better preview setting,
especially when proofing spot colors, and for
| | 00:51 | what seeing what my artwork is going to
look like when it's going to be printed
| | 00:53 | on a printing press.
| | 00:55 | In doing so, it also activates or
turns on the actual Separations Preview
| | 00:59 | setting. So what I can do here is
actually see Cyan, Magenta, Yellow, Black,
| | 01:04 | and any Pantone. Like in this case here,
I have Pantone 3145 used in this file.
| | 01:09 | Now what I can do is, simply use these
little eyeballs here to turn off certain
| | 01:12 | colors. For example right now, I'm
always thinking to Black plate in my file,
| | 01:15 | or I could turn off the black plate,
and only view the Pantone 3145. So very
| | 01:20 | easily now, as a designer or a
prepress professional, I can identify the inks
| | 01:25 | that are being used, and where those
will be printing inside of my document.
| | 01:28 | This way I can make sure that the
separations are correct, before the costly
| | 01:32 | stuff I'm going to print.
| | 01:34 | Now I also have a composite CYMK, which
allows me to turn on all of CMYK all at
| | 01:39 | once, and of course they could also
toggle that Pantone color and hide the
| | 01:42 | Pantone color as well.
| | 01:44 | So in this way I can make sure that
everything is ready to go to print. And
| | 01:47 | again, it's all integrated right here
inside of Illustrator. Great Separations
| | 01:51 | Preview panel, finally
now inside of Illustrator.
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| Isolation mode enhancements| 00:00 | One of the great enhancements in
Illustrator CS3 was Isolation mode, which
| | 00:04 | basically allowed you to go into
any particular part of your document,
| | 00:08 | double-click on a group or a certain
area and just work on that particular area
| | 00:12 | without having to worry about
other things getting in the way.
| | 00:15 | Well, now inside of Illustrator CS4,
Isolation mode goes to a whole new level.
| | 00:20 | In fact, it's probably one of my
most favorite new features inside of
| | 00:23 | Illustrator CS4. Because often we are
working with very complex documents,
| | 00:26 | for example, in this file called
isolation mode, I have many different elements
| | 00:31 | going on in this particular part of my
file. In fact, I have these kind of wavy
| | 00:34 | patterns that goes here behind the
gradient and behind the text and maybe I see
| | 00:39 | like this little part here this
green part, this green wave, that kind of
| | 00:42 | sticks out right over here,
and I want to get rid of that.
| | 00:45 | Now the easiest way would probably be
to use the Eraser tool and just quickly
| | 00:48 | erase that area, but to kind of get
in here will be very difficult, plus
| | 00:52 | I would have no way to really erase
the part of the green path that appears
| | 00:54 | behind the other area.
| | 00:56 | So I have to select that, bring it to
the front, make an edit, and send it back
| | 00:59 | again, and if it's in a very complex
stacking that can be very hard to do.
| | 01:03 | So now Isolation mode is great inside
of Illustrator because it allows you to
| | 01:07 | basically work on parts of a file, but
Isolation now works on individual paths
| | 01:11 | as well whereas in the past it only
worked on groups. Let's take a look at how
| | 01:15 | that works.
| | 01:16 | I'm going to take my regular
Selection tool and I'm going to simply
| | 01:19 | double-click on this artwork right
here and that's going to isolate this.
| | 01:22 | Notice that now it pops to the front
and everything else in my file gets grayed out.
| | 01:25 | I can still see it, so that I can
understand the context of where my artwork
| | 01:29 | is. But I can't select anything. It's like
it gets automatically locked. So none of
| | 01:33 | that gets in the way of how I work.
| | 01:34 | I could even now, let's say, I want to
work in only this particular part, not
| | 01:37 | this, this is a group that I've created.
I'm going to double-click now on this
| | 01:40 | object and now I've isolated just a
single path. In fact, if you look over here
| | 01:44 | at the top of the screen I have a
gray bar and these are what we call
| | 01:47 | breadcrumbs. That identifies the way
or the area that I'm in the hierarchy of
| | 01:52 | my particular document.
| | 01:53 | So for example, I'm right now isolating
a path, which exists inside of this group,
| | 01:57 | which now exist inside of Layer 1,
and as I begin to kind of move within my
| | 02:01 | document, I will always to be able
to see that. Now I can step back into
| | 02:04 | different parts. For example by
clicking on group, I can now isolate, go back
| | 02:08 | to the group, or again I can isolate
maybe just this path right here and now I
| | 02:11 | have that path that's isolated.
| | 02:12 | Let me go back to the group again.
I'm going to isolate just the green path itself.
| | 02:16 | I'm going to use the Eraser tool,
kind of increase that size that's
| | 02:19 | right there that's based in that
Bracket key and just erasing the part of the
| | 02:22 | path that I don't need. I don't have
to worry about locking other objects, so on
| | 02:26 | and so forth. Now I simply double-click
out anywhere else in my file. I will exit
| | 02:30 | Isolation and I'm done with my edit.
| | 02:32 | It's a great way for me in any
complex file to simply get into part of the
| | 02:35 | file, make the changes that I need and
get out of it. In fact, it's changed my
| | 02:39 | workflow completely with the way
that I work now inside of Illustrator.
| | 02:43 | I almost never rely now on locking
objects and unlocking objects. I isolate what
| | 02:47 | I need, especially since now I can
isolate individual on paths on their own,
| | 02:50 | get my edits done and then I'm
back to working as I want to.
| | Collapse this transcript |
| Easy-to-use alignment features| 00:00 | When you are working with a computer,
there is no reason to eyeball a design
| | 00:03 | to make sure it looks okay. You of
course want to be able to make sure that you
| | 00:06 | are aligning things evenly
with each other perfectly.
| | 00:09 | Now Illustrator always had an Align
panel. In fact I had to go ahead to the
| | 00:12 | Window menu and I will open up the
Align panel. However, it was always
| | 00:15 | difficult in the past to align objects
to specific parts. For example, if I
| | 00:19 | wanted to select all the groups that
exist right here and I wanted everything
| | 00:23 | to align just to this suit right here
in the middle, I would have to actually
| | 00:27 | do this in a way that was not documented.
I would actually click on this object
| | 00:31 | again and then apply any of the Align
settings and that would align it to that object.
| | 00:35 | But it was really not apparent to
people as they do that. Now inside of
| | 00:38 | Illustrator CS4, when I have all
these objects selected, if I now want to
| | 00:41 | select objects to this one object, I
can click on it again and now it gets
| | 00:46 | highlighted in blue. And that now is a
visual indication to me that that has
| | 00:49 | become what we call a Key Object.
| | 00:52 | Now when I go ahead and apply the
Align function, for example, vertical align
| | 00:55 | to the top, all the other objects
now align to the top of that particular
| | 00:58 | object. I will press Undo for a
second here. If I were to now click on this
| | 01:02 | object, the blue outline appears around
this object. I have defined this as the
| | 01:05 | Key Object and now if I simply
go ahead and choose align to the top
| | 01:08 | and it aligna to the top of that object.
| | 01:10 | Again, in the past in Illustrator
this worked but there was no visual
| | 01:12 | indication that this was happening. In
fact, you notice that now when I click,
| | 01:16 | let's say for example, on this
bikini right here and now this becomes
| | 01:18 | highlighted. Notice that there is a
little button here that says Align To and
| | 01:22 | because I have clicked on that object
right now it's set to align to a key object.
| | 01:26 | Well, this little widget also
allows me to choose to align objects to a
| | 01:30 | selection or align it to an artboard
and if I have multiple artboards, this is
| | 01:34 | actually a great feature because it
allows me to align things to the artboard
| | 01:37 | that is currently the active artboard.
| | 01:39 | So the Align features are now far
more in view of each other. In fact, you
| | 01:44 | don't even need the Align panel itself.
If I close the Align panel right here,
| | 01:48 | you'll notice that inside of the
Control panel at the top of the screen
| | 01:51 | I have the exact same widgets here. I
can choose to align to selection, a key
| | 01:54 | object, or align to the artboard and
all the settings are here as well.
| | 01:58 | And again, I specify my key object
simply by clicking on a particular area or
| | 02:02 | an object and that gets highlighted
in blue indicating that it's the key
| | 02:05 | object. When this setting is chosen
here inside of this particular widget I now
| | 02:09 | can choose to have all my objects align
to that particular object, for example,
| | 02:14 | here align to the top of that particular object.
| | Collapse this transcript |
| The Color Blindness preview| 00:00 | Good designers take into account
many things when creating a design.
| | 00:03 | For example, contrast. You want to make
sure that the design and the colors that
| | 00:07 | are used are going to be visible in
many different conditions. One of the
| | 00:10 | challenges is making sure that your
artwork is visible by those who maybe
| | 00:14 | colorblind. The most common of which
those who have trouble making distinctions
| | 00:17 | between reds and greens.
| | 00:19 | Illustrator CS4 now has a proofing
function that allows you to simulate what
| | 00:23 | artwork might look like when being
viewed by a colorblind person. In this way,
| | 00:27 | you can ensure that your designs are
high enough in contrast so that anyone can see them.
| | 00:31 | I will actually start off by creating
a new window here. I'm going to the
| | 00:34 | Window menu. I'm going to choose New
Window. It's going to create a separate
| | 00:37 | view for that artwork. I see now that I
have two actual windows or views of the
| | 00:42 | same file. Now I was able to do it this way for
many times, many years now inside of Illustrator.
| | 00:46 | However, using this function over here
I can actually switch this to be 2-up,
| | 00:50 | so I can see both of these designs. In
fact, just because of the layout of this
| | 00:53 | design, I may choose this option right
here. Now we will go ahead and we will actually
| | 00:57 | adjust the views of both of these
pieces of artwork that are here. So
| | 01:01 | that I can see what they look like
and let's position them just about right
| | 01:03 | about over here.
| | 01:04 | So what I'm going to do is on the
bottom one right over here, let's choose my
| | 01:07 | regular Selection tool here and then
click in this document window. I'll go to
| | 01:11 | the View menu and where it says Proof
Setup, I now have an option here called
| | 01:14 | Color Blindness. I can choose
Protanopia or Deuteranopia and these are two
| | 01:19 | different types of red-green color blindness.
| | 01:21 | For example, if I choose this
one right here with that particular
| | 01:25 | colorblindness, I can see now the
contrast is far less over here than it is in
| | 01:28 | this particular part here. In fact, if
I go to the View menu and I choose to
| | 01:33 | use the other setting for Protanopia, I
see there is almost no contrast at all
| | 01:37 | between the colors that I have used here.
| | 01:38 | So what I'm going to do is I'm actually
going to use a feature available inside
| | 01:42 | of Illustrator called Live Color. It was
introduced inside of Illustrator CS3, but
| | 01:45 | it has some small improvements and
enhancements now inside of Illustrator CS4
| | 01:50 | to make sure that my
design is going to look great.
| | 01:52 | So I'm going to select all of my
artwork, press Command+A just to select
| | 01:55 | everything. I'm going to go to the
Edit menu, I'm going to choose Edit Colors
| | 02:00 | and then I will choose Recolor Artwork.
| | 02:03 | That brings up my Recolor Artwork
dialog box right over here. In fact, if I
| | 02:06 | click on the Edit tab right here I can
see where these colors exist in my file
| | 02:10 | and I can very easily change the
saturation here and as I do that, I see the
| | 02:14 | changes happening there. Notice that
over here, I can very easily preview the
| | 02:18 | differences between these two views.
Again, this is one that's being viewed
| | 02:21 | with the Color Blindness or Protanopia
setting right over here and I can adjust
| | 02:25 | the actual hue of this particular
color if I wanted to adjust the contrast or
| | 02:29 | I simply adjust the brightness level
as well. I see that's not really having
| | 02:34 | very much effect. I will adjust
the hue. Let's see, just like that.
| | 02:36 | Now I know that I have created a
design that is high contrast enough for
| | 02:39 | regular people and for those who may
have this colorblindness as well. I will
| | 02:43 | click OK and I was able to use this
preview setting to make a design that I'm
| | 02:48 | ensured now that it will be visible by everyone.
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| Changes to the default Pathfinder behavior| 00:00 | Over the years, designers have
come to rely on a certain sets of
| | 00:03 | functions inside of Illustrator called
Pathfinder. These functions, which you
| | 00:07 | can find by going to the Window menu
and then choosing to open the Pathfinder
| | 00:10 | panel, allow designers to take multiple
objects and perform functions on them.
| | 00:14 | For example, add them together,
subtract them from each other or even split
| | 00:18 | them up into multiple objects. While
the Pathfinder functions themselves have
| | 00:21 | not changed inside of Illustrator CS4,
what has changed is their default
| | 00:25 | behavior and how they are used.
| | 00:27 | To better illustrate this, let's first
take a look at how Pathfinder functions
| | 00:30 | worked in previous versions of
Illustrator. I will move over here to the side
| | 00:33 | of the page and I will create two
rectangles that overlap each other. If I want
| | 00:37 | to combine these two into one new
shape, I would use the Selection tool to
| | 00:40 | select both of them and then click on
the Add button in the Pathfinder panel.
| | 00:44 | In doing so, it appears as if these two
rectangles have been combined into one new shape.
| | 00:48 | However, by using my Direct Selection
tool, I will find that I can still select
| | 00:51 | each individual rectangle. I can even
move them around to adjust the overall
| | 00:55 | look of the shape. Illustrator refers
to this live behavior as something
| | 00:58 | called a compound shape. As I
designer if I decide I don't want this live
| | 01:02 | behavior, what I could do is go back
to my regular Selection tool, select the
| | 01:05 | overall compound shape and then in the
Pathfinder panel, click on the Expand
| | 01:09 | button. In doing so, I now have one
expanded object and I no longer have the
| | 01:13 | ability to move those two rectangles around.
| | 01:16 | To save time, Adobe actually
added a keyboard shortcut to make this
| | 01:19 | functionality a little bit more
accessible. I'm going to press the Undo button
| | 01:22 | a couple of times to go back to my
original two shapes that I have had. So,
| | 01:25 | I ow have my two overlapping rectangles
right here. Let's say, I really wanted
| | 01:28 | to combine and then expand them all in
one step. Well, what I could do is I can
| | 01:32 | select both of these and then hold down
the Option key on Mac or the Alt key on
| | 01:35 | Windows and then click on the same
button. Notice that now, I don't have that
| | 01:39 | live behavior, the Expand button is
grayed out, because this object has been
| | 01:42 | combined into a compound shape
and then expanded, all in one step.
| | 01:46 | So, to review, in previous versions of
Illustrator if I were to click on that
| | 01:50 | button when I first had the two
objects there, my result is a live compound shape.
| | 01:54 | If I wanted the expanded object,
I can hold down the Option or Alt key
| | 01:58 | while I click on that same button and
my result is going to be an expanded
| | 02:01 | shape. Basically, Adobe had found
that many designers really wanted the
| | 02:04 | expanded shape and very few of
them wanted that live behavior.
| | 02:08 | So, what they've done inside of
Illustrator CS4 is they've reversed the way
| | 02:11 | that the Pathfinder tools work. Let me go
back to my original shapes here. I have
| | 02:15 | two regular overlapping rectangles. If
I select both of them right now inside
| | 02:19 | of Illustrator CS4 and I simply
click once, without using any keyboard
| | 02:22 | shortcuts, on this particular button
right here, my result is going to be an
| | 02:26 | expanded object. I will press the Undo
button over here. Now if I do want to
| | 02:30 | get that live behavior and rather
than just clicking on the regular button
| | 02:33 | itself, I'll hold down the Option or
the Alt key when I do so. I'll select both
| | 02:37 | of these right here, hold
down Option and then click on it.
| | 02:40 | Notice that now I've the Expand button
here,. Even though it appears as if they're
| | 02:43 | is one shape, click on each one
individually and move them around. So, let's
| | 02:48 | apply some of that knowledge to the artwork
I have here in my file. Let me zoom in over
| | 02:51 | here for a second and say I want all
these objects to end in a straight line.
| | 02:55 | In theory, I could simply draw a white
box over this and it looks as if there
| | 02:59 | is a straight line that's right there.
But I really want to cut the objects at
| | 03:01 | that particular point.
| | 03:02 | Here is actually some really cool
functionality that also takes into account
| | 03:05 | some of the new Smart Guide
functionality built-in to Illustrator CS4.
| | 03:09 | I'll take a rectangle right here and
I will draw one, say, right about over
| | 03:12 | here. I'll now take this particular
shape that's on top and I'll also hold down
| | 03:15 | the Shift key to select this shape
right here. Now, I will go over here to the
| | 03:18 | Pathfinder panel and I'll simply click
on this button here, which says Minus Front.
| | 03:21 | Basically, I've used the rectangle here
to remove the part that I don't want.
| | 03:26 | Now, I want to follow suit with the
other objects that are here as well, I use
| | 03:30 | my same Rectangle tool that I had before,
but notice that now as soon as move
| | 03:33 | my cursor right over here, it identifies
using Smart Guides where the outline is.
| | 03:36 | So, I'll know that my edge will
line up exactly with that object.
| | 03:40 | I'll click and drag to create a new
rectangle, use the Shift key to select this
| | 03:43 | particular shape right here, that is
Minus Front and now I've two objects that
| | 03:46 | end in the exact same place. Finally,
I'll use the same Rectangle tool, line
| | 03:51 | it up exactly to other objects,
click and drag, hold down the Shift key to
| | 03:54 | select these two objects here, use
Minus Front one more time and I get a clean
| | 03:58 | cut with all my objects.
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| The Crop Marks live effect| 00:00 | Those of you who have used Illustrator
before may notice that there is a menu missing.
| | 00:03 | That's right; there is no Filter menu
any more inside of Illustrator CS4.
| | 00:07 | The items that used to be in the
Filter menu have been distributed elsewhere.
| | 00:11 | For example, all the color filters are
now under the Edit > Edit Color submenu.
| | 00:15 | The Object Mosaic function is now
available under the Object menu where it says,
| | 00:19 | Create Object Mosaic.
| | 00:20 | There was one other command called the
Crop Marks filter, which existed before
| | 00:24 | under the Filter menu, which now exists
in the Effect menu. That means it is now a
| | 00:28 | live effect, which has some good
benefits to that. For example, if I wanted to
| | 00:31 | create crop marks around this
particular shape right here, I can select it,
| | 00:35 | choose Effect, then choose Crop Marks.
That automatically adds crop marks to the shape.
| | 00:40 | But because this is a live effect, as
I move the shape around, so do the crop
| | 00:44 | marks, and even as I resize my object
or reposition it, the crop marks adjust as well.
| | 00:48 | Again, that's one of the benefits of
having the Crop Marks as an effect.
| | 00:52 | Of course, they appear here in the
Appearance panel. To edit them, I can simply
| | 00:55 | click over here. If I want to click on it
and drag it right into the trashcan,
| | 00:58 | I simply can do that and
remove the crop marks as well.
| | 01:01 | So again, the Filter menu is gone, and
the items that use to be in there are now
| | 01:04 | they are distributed elsewhere, so now
the user interface inside of Illustrator
| | 01:07 | is a little bit more cleaner, a little
bit more easier to find. It's actually a
| | 01:10 | nice direction from Adobe on
helping to clean up that user interface.
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| New templates and content| 00:00 | Illustrator has always shipped with
templates and contents that are included
| | 00:03 | free with the application. However, now
with Illustrator CS4 and of course the
| | 00:08 | new multiple artboard feature, the
templates take on a whole new meaning.
| | 00:12 | Illustrator CS4 contains a whole new
range of exciting templates to use.
| | 00:16 | I'm going to click over here from the
Illustrator welcome screen, From Template,
| | 00:19 | and that's going to allow me to choose
directly Blank Templates and then some
| | 00:22 | other ones that have certain themes on them.
| | 00:24 | Also, in case you are creating Flex
Skins you have the ability to create Flex
| | 00:27 | Skins directly from these particular
templates as well. They are built right in.
| | 00:31 | These were available before as
separate downloads from the Adobe Labs
| | 00:35 | website; now they are built right into
Illustrator. But I think one of the most
| | 00:38 | exciting things here are the blank
templates. As a designer, I'm not really
| | 00:41 | interested in using themes or designs
that other people have created, but I do
| | 00:45 | value the ability to have my
settings already set for me.
| | 00:48 | For example, when I choose Banner Ads,
I click on the New button here and it
| | 00:52 | actually creates an entire document
that has all of these ads already set up by
| | 00:55 | the actual sizes that I would need.
| | 00:57 | So this is fantastic. It's using the
multiple artboard feature in a way that
| | 01:01 | makes it far more intuitive and easy
to use to get started. I do suggest that
| | 01:05 | you take a few moments out of your day
to take a look at some of the templates
| | 01:08 | that Illustrator ships with.
They are fantastic, they are great.
| | 01:10 | And at the same time, also make sure you
will look at the different brushes and
| | 01:14 | symbols that ship with Illustrator as well.
| | 01:16 | Go to this little pop-up menu here on the
bottom of each of these libraries and
| | 01:19 | you will see a range of settings. For
example, Florid Vector Pack, Dot Pattern
| | 01:23 | Vector Pack, this is actually great.
It gives you a whole bunch of different
| | 01:25 | settings that you can use. Hair and Fur,
great for working with the symbolism
| | 01:29 | tools inside of Illustrator. Illuminate
Ribbons, Logo Elements, so on and so forth.
| | 01:33 | They are all here free to use.
Reverse engineer, see how they are created,
| | 01:37 | modify them and make them your own.
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