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When Adobe first released Illustrator, they designed the program in part to demonstrate the power of the PostScript printing language. The Pen tool is an expression of the three point model. That is anchor point plus two control handles that is at the heart of PostScript. For years Illustrator remained in lockstep with PostScript, rendering each and every graphic as a collection of routines that a PostScript imagesetter could render in a matter of seconds. But those days? They're long gone. Take transparency, for example. There is no provision for a translucent object in PostScript.
When you blend a translucent path with the path below it , Illustrator either has to rasterize that section of the artwork, that is convert it to pixels, or break it into subpaths with opaque fills. Illustrator doesn't modify your artwork. The flattening as it's called happens on the fly during the print process, but it does increase the complexity of the job, which is why I divided this chapter into two parts. In the first 18 movies we play with all the cool stuff, independent attribute control, knockout groups, opacity masks, blend modes, gradient fades, and whole layer masks.
Then in the last five movies, I'll explain how to make absolutely sure your translucent artwork prints. It starts out all techie in the Flattener Preview palette and name gets very simple in Photoshop. Here, let's take opaque.
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