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Organizing the palettes


Illustrator CS3 One-on-One: The Essentials

with Deke McClelland

Video: Organizing the palettes

All right now that we've seen how docking panes work, let's move on to palettes and I hope I've made it clear. I really love this new interface, even though you know, I was railing against that whole OWL thing, not cause I don't like owls, I love owls. If I were to rank birds for some reason, I haven't done that lately, but I know owls would be really close to the top. Right below something like pterodactyls, which aren't birds but anyway. But I love this new interface. It's totally awesome, but I don't like, just cause I know you're trying to keep track of my opinion on every topic on Earth.
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  1. 59m 51s
    1. Welcome to Illustrator CS3 One-on-One: The Essentials
      2m 0s
    2. The unwelcome Welcome screen
      6m 34s
    3. Browsing Illustrator artwork
      4m 53s
    4. Bridge workspaces and favorites
      6m 8s
    5. The anatomy of an illustration
      7m 2s
    6. Examining a layered illustration
      5m 38s
    7. Customizing an illustration
      5m 21s
    8. Creating a new document
      6m 12s
    9. Changing the document setup
      6m 50s
    10. Saving a document
      6m 14s
    11. Closing multiple files
      2m 59s
  2. 1h 3m
    1. Preferences, color settings, and workspaces
    2. Keyboard Increment and Object Selection
      5m 52s
    3. Scratch Disks and Appearance of Black
      6m 43s
    4. Establishing the best color settings
      5m 35s
    5. Synchronizing color settings in Bridge
      4m 3s
    6. The new CS3 interface
      3m 55s
    7. Organizing the palettes
      9m 4s
    8. Saving your workspace
      2m 33s
    9. Zooming and scrolling
      3m 39s
    10. Using the Zoom tool
      5m 27s
    11. The Navigator palette
      3m 37s
    12. Nudging the screen image
      2m 50s
    13. Scroll wheel tricks
      3m 11s
    14. Cycling between screen modes
      5m 55s
  3. 1h 4m
    1. Why learn Illustrator from a Photoshop guy?
      1m 32s
    2. Introducing layers
      4m 37s
    3. Creating ruler guides
      6m 34s
    4. Creating a custom guide
      3m 28s
    5. Organizing your guides
      5m 50s
    6. Making a tracing template
      3m 34s
    7. Drawing a line segment
      4m 9s
    8. Drawing a continuous arc
      4m 17s
    9. Drawing a looping spiral
      5m 16s
    10. Cutting lines with the Scissors tool
      6m 44s
    11. Aligning and joining points
      7m 57s
    12. Drawing concentric circles
      3m 45s
    13. Cleaning up overlapping segments
      6m 21s
  4. 1h 9m
    1. The anatomy of a shape
      1m 0s
    2. Meet the Tonalpohualli
      4m 8s
    3. Meet the geometric shape tools
      3m 47s
    4. Drawing circles
      6m 36s
    5. Snapping and aligning shapes
      6m 59s
    6. Polygons and stars
      7m 0s
    7. Rectangles and rounded rectangles
      6m 15s
    8. The amazing constraint axes
      6m 30s
    9. Grouping a flipping
      7m 37s
    10. Combining simple shapes into complex ones
      6m 35s
    11. Drawing with Scissors and Join
      6m 3s
    12. Cutting and connecting in Illustrator CS3
      3m 49s
    13. Tilde key goofiness
      2m 55s
  5. 1h 22m
    1. Three simple ingredients, one complex result
    2. Introducing Fill and Stroke
      3m 42s
    3. Accessing color libraries and sliders
      7m 8s
    4. Using the CMYK sliders for print output
      5m 5s
    5. Using the RGB sliders for screen output
      4m 38s
    6. Color palette tips and tricks
      4m 46s
    7. Creating and saving color swatches
      4m 13s
    8. Trapping gaps with rich blacks
      7m 57s
    9. Filling and stacking shapes
      5m 17s
    10. Dragging and dropping swatches
      6m 16s
    11. Paste in Back, Paste in Front
      5m 43s
    12. Filling shapes inside groups
      5m 15s
    13. Pasting between layers
      3m 34s
    14. Joins, caps, and dashes
      5m 50s
    15. Fixing strokes and isolating your edits
      7m 34s
    16. Creating a pattern fill
      4m 38s
  6. 1h 22m
    1. The power of transformations
      1m 25s
    2. From primitives to polished art
      4m 4s
    3. Clone and Duplicate
      6m 14s
    4. Moving by the numbers
      4m 15s
    5. Using the Reshape tool
      6m 29s
    6. Modifying, aligning, and uniting paths
      7m 0s
    7. Using the Offset Path command
      4m 24s
    8. Styling and eyedropping
      4m 11s
    9. The wonders of the translucent group
      5m 37s
    10. Making a black-and-white template
      3m 48s
    11. Scaling and cloning shapes
      4m 26s
    12. Enlarging and stacking shapes
      5m 6s
    13. Positioning the origin point
      6m 49s
    14. Using the Rotate and Reflect tools
      5m 16s
    15. Series rotation (aka power duplication)
      4m 3s
    16. Rotating by the numbers
      5m 15s
    17. Rotating repeating pattern fills
      4m 32s
  7. 1h 4m
    1. Points are boys, control handles are girls
      2m 16s
    2. Tracing a scanned image or photograph
      4m 34s
    3. Placing an image as a template
      5m 31s
    4. Drawing a straight-sided path
      5m 36s
    5. Moving, adding, and deleting points
      5m 51s
    6. Drawing spline curves with Round Corners
      7m 55s
    7. Smooth points and Bézier curves
      8m 12s
    8. Defining a cusp between two curves
      4m 37s
    9. Adjusting handles and converting points
      7m 3s
    10. Cutting, separating, and closing paths
      7m 30s
    11. Eyedropping template colors
      5m 11s
  8. 1h 28m
    1. Paths never rest
      1m 41s
    2. Meet Uzz, Cloying Corporate Mascot
      2m 22s
    3. Exploring the Appearance palette
      5m 37s
    4. Snip and Spin
      7m 27s
    5. Adding a center point
      3m 57s
    6. Keeping shape intersections
      3m 7s
    7. Lifting fills and selecting through shapes
      4m 14s
    8. Saving and recalling selections
      5m 18s
    9. Rotating is a circular operation
      7m 35s
    10. Lassoing and scaling points
      6m 7s
    11. Using the Transform Each command
      5m 9s
    12. Using the Magic Wand tool
      6m 46s
    13. Converting paths and text to rich black
      2m 27s
    14. The overwrought lace pattern
      3m 20s
    15. Eyedropping Live Effects
      5m 38s
    16. Merging strokes with a compound path
      6m 32s
    17. Selecting and scaling independent segments
      6m 30s
    18. Pucker & Bloat
      4m 49s
  9. 1m 59s
    1. See ya for now
      1m 59s

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Watch the Online Video Course Illustrator CS3 One-on-One: The Essentials
9h 36m Beginner May 18, 2007

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Adobe Illustrator has long been the most popular and viable vector-drawing program on the market but, for many, the learning curve is steep. In Illustrator CS3 One-on-One: The Essentials , author and leading industry expert Deke McClelland teaches the key features of Illustrator in a way that anyone can understand. He also goes beyond that, showing users how to get into the Illustrator "mindset" to make mastering Illustrator simple and easy. The training covers how to use the core drawing and shape tools, the transformation and reshaping features, text and gradients, and color management and printing features. Even if learning Illustrator has been a struggle in the past, this time it is going to make sense. Exercise files accompany the training.

Deke McClelland

Organizing the palettes

All right now that we've seen how docking panes work, let's move on to palettes and I hope I've made it clear. I really love this new interface, even though you know, I was railing against that whole OWL thing, not cause I don't like owls, I love owls. If I were to rank birds for some reason, I haven't done that lately, but I know owls would be really close to the top. Right below something like pterodactyls, which aren't birds but anyway. But I love this new interface. It's totally awesome, but I don't like, just cause I know you're trying to keep track of my opinion on every topic on Earth.

I'm not really a big fan of the way that the palettes are organized by default. I am a big fan of the way that you can change the organization of the palettes, so let's check it out. I'm going to show you how I like to organize my palettes, which again, you know another opinion thing there, you can organize yours differently, but just know that this is the way the palettes are going to be organized throughout the rest of this series. So if you decide to go your own way, we're going to have a few differences. If you want to exactly match what I'm doing for the sake of simplicity, then here's your chance right now, and you're going to learn all kinds of cool stuff along the way by the way, because all this stuff, almost all the stuff is totally new to Illustrator CS3.

You can drag a palette by its tab, like so. You've been able to do that for long time now inside of Illustrator. So this one's not super new. I'm going to go ahead and drag this tab up into this other cluster of palettes here that includes Coloring and Color Guide and I'm going to drop. Now I should say that I'm using my own terminology. When I talk about clusters, I call these things palette clusters right here, because you've got multiple clusters that are going on inside of a given pane. Illustrator tends to call these individual palettes panels.

The implication being, because it doesn't really come out and say this anywhere, that the panels are combined into palettes, but Illustrator, insofaras I can tell is alone in this regard. Photoshop doesn't call them this and Photoshop uses the exact same interface. So I'm going to use this term clusters because other terms like groups and sets are used for other things. I'm just telling you that just so you know what the heck I'm talking about. Let's say you want to move an entire cluster as long as we're talking about clusters. Like I want to move Brushes and Symbols out of this main docking pane here.

And if you want to move an entire cluster at a time, just drag somewhere in this empty gray region that's above and to the right of the tabs and that moves the entire cluster like so. That's new to Illustrator CS3. And if you drop them in the middle of nowhere like this, you get a free floating palette, totally free range palette here, no preservatives whatsoever. Now I don't really want that because it's going to sort of interfere with my ability to see my illustration, but that is something you can do, if you want to. What if you want to create a new docking pane? Well that you can do too, just go ahead and drag that cluster bar there.

In any location where you see a blue bar, a blue vertical bar like we're seeing right now, which you'd see here or over on the right side of the palette, so either the right or left side of the existing pane, or you could drag over here to the right side of the toolbox. You could even if you're crazy, put them over here on the left side of the toolbox. So anywhere you want actually, you can start a new pane. Isn't that wild? All right I'm going to put it right there, because I think that's really the only sensible thing to do. And when you drop, new docking pane, awesome. All right let's move a few other things around. I'm going to move Graphic Styles.

This palette and only this palette by dragging it's tab and dropping it into the new pane, actually into this cluster because these three guys all go together. They're all collectors, you know, you can create libraries of brushes and symbols and graphic styles, as you'll learn in future chapters of course. But check this out, let's say you want Graphic Styles first before Brushes or Symbols. You can drag the tab back and forth. You haven't been able to do that inside of any Adobe application in the past. Such a great function. Just a little thing that makes such a big difference.

Now I'm going to take Transparency, move it down here with Appearance. I think my Swatches palette is too tall, so I'll drag it up by dragging this border that occurs between the palettes, and Stroke and Gradient are fine the way they are. Let's check out Appearance. It's a little bit too tall also. So I'll drag that up as well. Now my Layer thumbnails are too small in my opinion. This is the default size for the thumbnails and I just think it's too wee, you know you can't like, oh what are those things? So let's make them bigger and you do that by going to the Palette menu. See this little thing right there. That's the Palette menu. Go ahead and click on it and then choose Panel, see there's that term of Illustrator's, Panel Options in order to bring up the options for the Layers palette. And I'm going to switch to Other and I'm going to change that value to 50 pixels as I've done in the past there and I'm going to click OK. Now this is the one thing I've shown you that's not part of the workspace. This will not be saved with the workspace when we save the workspace in the next exercise. Instead the size of your layer thumbnails is actually saved along with the illustration file. So you can have one illustration file that has teeny ones and another one that has big ones, whatever you want to do.

But there they are, looking glorious. You can even that's a V. That is the big V-man. All right, so let's set some other ones because we need more palettes on screen, I mean there are like 100,000 palettes inside of Illustrator, and there's a few that we rely on pretty heavily inside the program that are not visible by default. Such palettes as Align, that would be great to have the Align palette up. And there it is of the bottom of the screen and Pathfinder and Transform are also included. Let's also bring up Magic Wand.

That's a good palette. Now you may sit there and think, Hey I didn't even know Illustrator had a Magic Wand function, how does that work? Not now, please. Hold your questions. We will be talking about all of these functions in later chapters in context, my friend. Believe me. We will get to Magic Wand and we will all have a merry time. Now I'm going to move Pathfinder up to join the Magic Wand, just so that we have a couple of palettes inside of this cluster that don't really bear much of a relationship to each other. And I'm going to move Align to before Transform and I'm going to drag this cluster up so it docks to the bottom of Magic Wand.

So we have this ubercluster going on, now. I don't even have a word for it. Now I'm going to go to the Window menu, choose Type and I'm going to choose Character in order to bring up a cluster of three Type palettes right there. And I'm going to go to the Type menu and choose Glyphs to bring up a big palette right there, this guy's a big one. And I'll dock it to the bottom of Character, Paragraph and OpenType and then I'll dock these guys to the bottom of that. Now things are getting a little massive over here inside this ubercluster, so I'm going to move it over.

I'm going to move this entire cluster by dragging this cluster bar here, and I'm going to move it into this dock. See how I've got a horizontal blue line at the top of the dock? As soon as I release, these palettes get added to this pane right here. Now it looks like this is so incredibly, unspeakably massive that I wouldn't want to work this way at all. You'll see method to my madness. You'll see. Now I'm going to go to the Window menu, and I'm going to choose the Attributes command and then I'm going to go to the Window menu, and I'm going to choose the Info command.

Now these guys are sort of grouped wrong in my opinion. Navigator should be combined with Document Info because they're bold document level functions and Info should be combined with Attributes because these are both object level functions. And I actually want Info first right there and then I'm going to dock those guys together and then I'm going to grab the entire ubergroup and drop it at the top of this pane like so, so that we have all of these palettes grouped together, and then I'm going to do the only sensible thing I could do at this point, and I'm going to collapse that docking pane.

And notice now when you collapse a docking pane, the first time you do it you're going to see not only the icons but also the names of the palettes displayed there. If you just want to see the icons, which is all I want to see, then just go ahead and drag the left side of that pane over to the right and you will collapse the pane down to just the icons, and now if you expand it, you'll see the palettes and if you collapse it, you'll see just the icons by themselves. Now, remember that you can identify an icon by hovering over it. And as you learn how these palettes work, these icons will become more and more recognizable. Some of them though, never are. Like this one I don't think really make sense for Graphic Styles, but there it is anyway.

So we have gone ahead and customized the holy heck out of our interface. Oh look at the toolbox. It's double wide, I wanted it to be single wide. All right, now I've got everything exactly the way and that I want it to be. If you decide to go your own way all the better. It's great, no problems, no worries man. In the next exercise we're going to learn how to save what we've done as a workspace.

Find answers to the most frequently asked questions about Illustrator CS3 One-on-One: The Essentials .

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Q: When trying to synchronize color settings between all Creative Suite programs in Bridge, the Creative Suite Color Settings command either does not appear in the Edit menu or does not work. What is causing this?
A: If the Color Setting command is not available or does not function, it's because Bridge thinks that a single application (such as Photoshop or Illustrator), is installed and not one of the many versions of the Creative Suite.
If only Photoshop or Illustrator is installed, skip the exercise and move on.
If the entire Creative Suite is installed, then, unfortunately, there is no easy fix. Either contact Adobe or completely reinstall the Creative Suite.
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