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Illustrator CS3 One-on-One: The Essentials
Illustration by John Hersey

Scratch Disks and Appearance of Black


From:

Illustrator CS3 One-on-One: The Essentials

with Deke McClelland

Video: Scratch Disks and Appearance of Black

All right now for our second exercise of wacky, exciting Preference settings. I don't need to go to the Next panel of settings, I don't think. So there's no reason to click the Next button. Instead I'm going to click this down pointing arrowhead to bring up the pop-up menu that shows you the many other panels of options that are available to you. I'd like you to switch to Units & Display Performance just so that you can see that all of my options, all my unit options are set to points and I just want you to acknowledge that so that if you decide to go your own way and use for example, millimeters as your general unit of measurement, then you know that you and I won't quite agree and you'll have to make special compensation. I leave that to you my friend. Next let's go ahead and switch to Plug-ins & Scratch Disks.
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  1. 59m 53s
    1. Welcome to Illustrator CS3 One-on-One: The Essentials
      2m 0s
    2. The unwelcome Welcome screen
      6m 35s
    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 51s
    10. Saving a document
      6m 14s
    11. Closing multiple files
      2m 59s
  2. 1h 3m
    1. Preferences, color settings, and workspaces
      55s
    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 56s
  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 10s
    8. Drawing a continuous arc
      4m 17s
    9. Drawing a looping spiral
      5m 17s
    10. Cutting lines with the Scissors tool
      6m 45s
    11. Aligning and joining points
      7m 58s
    12. Drawing concentric circles
      3m 45s
    13. Cleaning up overlapping segments
      6m 21s
  4. 1h 9m
    1. The anatomy of a shape
      1m 1s
    2. Meet the Tonalpohualli
      4m 8s
    3. Meet the geometric shape tools
      3m 47s
    4. Drawing circles
      6m 36s
    5. Snapping and aligning shapes
      7m 0s
    6. Polygons and stars
      7m 0s
    7. Rectangles and rounded rectangles
      6m 16s
    8. The amazing constraint axes
      6m 30s
    9. Grouping a flipping
      7m 37s
    10. Combining simple shapes into complex ones
      6m 36s
    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
      33s
    2. Introducing Fill and Stroke
      3m 42s
    3. Accessing color libraries and sliders
      7m 8s
    4. Using the CMYK sliders for print output
      5m 6s
    5. Using the RGB sliders for screen output
      4m 39s
    6. Color palette tips and tricks
      4m 46s
    7. Creating and saving color swatches
      4m 14s
    8. Trapping gaps with rich blacks
      7m 58s
    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 16s
    13. Pasting between layers
      3m 34s
    14. Joins, caps, and dashes
      5m 50s
    15. Fixing strokes and isolating your edits
      7m 35s
    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 15s
    4. Moving by the numbers
      4m 16s
    5. Using the Reshape tool
      6m 30s
    6. Modifying, aligning, and uniting paths
      7m 0s
    7. Using the Offset Path command
      4m 25s
    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 50s
    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 32s
    4. Drawing a straight-sided path
      5m 36s
    5. Moving, adding, and deleting points
      5m 51s
    6. Drawing spline curves with Round Corners
      7m 56s
    7. Smooth points and Bézier curves
      8m 12s
    8. Defining a cusp between two curves
      4m 37s
    9. Adjusting handles and converting points
      7m 4s
    10. Cutting, separating, and closing paths
      7m 31s
    11. Eyedropping template colors
      5m 11s
  8. 1h 28m
    1. Paths never rest
      1m 42s
    2. Meet Uzz, Cloying Corporate Mascot
      2m 22s
    3. Exploring the Appearance palette
      5m 37s
    4. Snip and Spin
      7m 28s
    5. Adding a center point
      3m 57s
    6. Keeping shape intersections
      3m 8s
    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 8s
    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 21s
    15. Eyedropping Live Effects
      5m 39s
    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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Illustrator CS3 One-on-One: The Essentials
9h 36m Beginner May 18, 2007

Viewers: in countries Watching now:

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.

Subject:
Design
Software:
Illustrator
Author:
Deke McClelland

Scratch Disks and Appearance of Black

All right now for our second exercise of wacky, exciting Preference settings. I don't need to go to the Next panel of settings, I don't think. So there's no reason to click the Next button. Instead I'm going to click this down pointing arrowhead to bring up the pop-up menu that shows you the many other panels of options that are available to you. I'd like you to switch to Units & Display Performance just so that you can see that all of my options, all my unit options are set to points and I just want you to acknowledge that so that if you decide to go your own way and use for example, millimeters as your general unit of measurement, then you know that you and I won't quite agree and you'll have to make special compensation. I leave that to you my friend. Next let's go ahead and switch to Plug-ins & Scratch Disks.

And this is important to those of you who have multiple hard drives installed in your systems. I'm not talking about removable hard drives, none of that stuff. These have to be internal hard drives in order to take advantage of them. So you're probably working with a tower machine as opposed to a laptop. I am. I've got two hard drives installed in this system and so I'm going to set my Primary Scratch Disk, I'll explain what that is in a moment, to be my D drive, my lesser used drive, not the System drive. And then I'm going to set my Secondary drive to C, so that I'm taking advantage of both of the drives notice that these changes will not take effect until the next time I launch Illustrator, that's fine.

Next time I quit the program and restart it, then I will have my new scratch disks. Now here's why scratch disks are important. Illustrator is performing some very intense computations at times especially when we get into the more advanced stuff, the live affects, anything that has the word live in it is computationally intensive. And at those times Illustrator may suck up all of the RAM in your machine, or all the RAM that's been allocated to it and it's running out of space and instead of crashing, which is its other option, it needs to find a place to put the stuff that it's dealing with and it puts this off on your hard drive or creates the scratch disk files on the hard drive.

Now, the more room on your hard drive that you give to Illustrator, the more reliably the program will behave. So if you've got a couple of drives to open up, then give your lesser used drive, which would be your D drive or your extra drive on the Mac, to the primary location and give your system drive, or your C drive to secondary. What's next? Let's move on to User Interface. I just want you to see, you can dial down the Brightness of your User Interface if you like. Notice how the User Interface items on the right and left side of the screens have gone very dark, which is great if you like to keep everything dark and you want to be able to focus on the brightness of your illustration.

However, the way, now I've been working in Illustrator for so long, I really like to see stuff brightened up at the sides just so that I can find options very easily. So I leave it set to Light as it is by default. You can also auto collapse your icon panel. So if you bring up a palette by clicking on an icon, it will stay up on screen, even while you're doing different things here inside the Illustration window. If you want it to auto-collapse as soon as you leave the palette then you can turn on this checkbox. Again, I'm going to leave it off according to the default setting.

Now let's go to Appearance of Black. This is another one of those settings that's messed up by default in my estimation. There's two kinds of black essentially. There is regular old 100% black, which is 100% K and nothing else. You're not adding cyan, magenta, or yellow to the black and that's called a plain black and notice that it looks a little lighter than the rich block. The rich black is a combination of 100% K, along with some other supporting colors, like you might have 50 % cyan and 50% magenta and 50% yellow. That's just a standard rich black, and they are going to print differently than each other if you go to pre-press.

If you go to commercial output they're going to look different. So you would like to see them differently on screen, wouldn't you? Well by default Illustrator has on screen display all blacks as rich blacks, even if they're weak blacks, even if they are just plain blacks, make them rich black, in order to deceive the user and mess you up, so that you have a big surprise when you go to print. That's a horrible, horrible idea. So let's go ahead and change On Screen to Display All Blacks Accurately. Very important word, accurately, that's actually something we'd like I would think.

Now printing and exporting, that's specifically for outputting your illustrations to an inkjet printer. Notice down at the bottom in the Description area it's saying on RGB and grayscale devices outputting all Blacks as Rich Black will show both pure blacks and rich blacks. Now it's implying that there is such a thing as an RGB output device, and there are film recorders, but otherwise what it really means when it says RGB devices, it's talking about your inkjet printer, which is not an RGB device. It's just that it calculates colors in RGB space. Anyway if you would like to, for inkjet purposes if you would like to get rich blacks all over the place then leave it set the way it is. If you're trying to use your inkjet printer to prove, to serve as a kind of soft proof of what you're ultimately going to get from a pre-press device, from commercial output, then you would want to go ahead and set this to Output All Blacks Accurately as well. I'm going to leave it set to Rich Black cause I don't really work that way, I just use inkjets for pretty pictures.

So anyway on screen though, definitely Display All Blacks Accurately, and we'll come back to that in a later exercise. I'll make that point crystal clear when we discuss the difference between plain blacks and rich blacks and why rich blacks are so much better and how you dial them in and how you make the best use of them. For now though you are done with the Preferences. See, you're not asleep for 20 years. You're not in a coma. We got through it, that's nice. Just go ahead and click OK in order to accept your modifications. Now, if you want to be ultra careful, you would go to the File menu and you would choose the Exit command or press Control+Q. On the Macintosh side, you would go to the Illustrator menu and choose the Quit command or press Command+Q because it's when you quit Illustrator that you record your Preferences because if we don't and we end up crashing, then we might lose our Preference settings and have to reset them. So to be just ultra careful, quit Illustrator and then restart the program and then rejoin me in exercise 3.

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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