Adobe illustrator cs4- P10 docx

CHAPTER 7: WORKING WITH LIVE EFFECTS 244 Illustrator can also import SVG fi lters. To do so, choose Effect > SVG Filters > Import SVG Filter. In the dialog box, open an SVG fi le with a fi lter effect in it; when you do, Illustrator will import that fi lter into your current fi le. WARP: CHOOSING YOUR DISTORTION The Warp effect is one of several distortion functions in the Illustrator arse- nal. You can use Warp to apply any of 15 different preset distortions to any object, group, or layer. To apply a Warp effect, make a selection, and choose Effect > Warp > Arc. Even though all 15 warp styles are listed in the submenu, you don’t have to worry about choosing the right one just yet—the Warp Options dialog box lets you choose from any of the preset warp styles. When the Warp Options dialog box appears, select the Preview check box so you can preview your warp on your artboard as you adjust the settings. Click the Style pop-up menu to choose from the list of warp styles: Arc, Arc Lower, Arc Upper, Arch, Bulge, Shell Lower, Shell Upper, Flag, Wave, Fish, Rise, Fisheye, Infl ate, Squeeze, and Twist. Little icons appear to the left of each warp style to help you visualize what each one does, although trial and error probably works better (Figure 7.26). NOTE SVG e ects should be the last e ects applied in the stacking order when multiple e ects are being speci ed; other- wise, the SVG e ect will end up being rasterized. Figure 7.26 The little icons that appear to the left of each Warp e ect help you understand what each option does. APPLYING PHOTOSHOP EFFECTS 245 Once you’ve chosen a warp style, you can specify whether the warp is applied horizontally or vertically, and you can adjust how slight or extreme the warp is applied by adjusting the Bend slider. Also, you can use the Horizontal and Vertical sliders to apply additional distortion to your selection. Warp effects are particularly useful when applied at the group or layer level, where you might often add or remove elements from the group. For example, you might apply a Warp effect to a logo to show movement or excitement. If you applied the Warp effect at the group level, adding new art to the group will automatically cause the new art to take on the same Warp effect. APPLYING PHOTOSHOP EFFECTS The effects we have discussed to this point are considered Illustrator effects, and for the most part, they are vector in nature and make adjustments to vector paths (with the obvious exception of the Rasterize effect and most of the Stylize effects). However, Illustrator also has the ability to apply a variety of purely pixel- based effects to any object, group, or layer. These effects are grouped in the Photoshop Effects section of the Effect menu. The same rules as to how effects are applied through the Effect menu and edited via the Appearance panel apply to these effects as well. In truth, the Photoshop effects in the bottom portion of the Effect menu are really Photoshop fi lters. You can copy Photoshop fi lters and plug-ins into the Illustrator Plug-ins folder (found in the same folder in which the Illustrator application fi le appears), and they appear listed in the Effect menu as well. At fi rst, it may seem unnatural to fi nd that you can apply a Gaussian Blur or Unsharp Mask effect in Illustrator, but you’ll quickly fi nd that you can achieve wonderful designs and cool effects by employing Photoshop fi lters such as Crystallize and Mezzotint. Some of the graphic styles libraries that ship with Illustrator employ a variety of these effects, and by reverse- engineering them, you can learn how to use them. NOTE Refer to Chapter 2 for detailed information on the other dis- tortion features in Illustrator, as well as a sidebar of those features as they compare to the Warp e ect. NOTE Be aware that copying objects with below-the-line e ects from one document to another may cause the appearance of the e ect to change if the two  les have di erent resolution settings. CHAPTER 7: WORKING WITH LIVE EFFECTS 246 Illustrator E ects and Photoshop E ects At  rst glance, it may appear that the Illustrator e ects are purely vector in nature and the Photoshop e ects are raster-based ones, but this isn’t true. E ects such as Feather and Drop Shadow, which appear in the Stylize submenu, are listed as Illustrator e ects, and they produce raster content. So, what then is the distinction between Illustrator and Photoshop e ects? The di erence is relatively simple yet absolutely critical: resolution. At the beginning of the chapter, you learned how the Document Raster E ects Settings dialog box determines the resolution at which e ects are rasterized when the document is either  attened or printed. But the setting is also important for determining the appearance of some e ects. Let’s take a look at an example: 1. Open the Document Raster E ects Settings dialog box, set the resolution to 72 ppi, and click OK. 2. Draw two identical shapes. 3. Apply a Feather e ect to one shape (an Illustrator e ect) and a Gaussian Blur e ect to the other (a Photoshop e ect), and then observe the results (Figure 7.27). Figure 7.27 Shown are identical shapes with a Feather e ect applied (left) and a Gaussian Blur e ect applied (right). You can see that both appear to be somewhat similar. 4. Now open the Document Raster E ects Settings dialog box, change the resolution to 300 ppi, and click OK. Observe the results of the e ects (Figure 7.28). Figure 7.28 The shape with the Feather (left) remains unchanged in appearance, but the shape with the Gaussian Blur (right) now has a harder edge than it did before the change in resolution. You’ll notice that the appearance of the Gaussian Blur e ect has changed, but the Feather e ect remained the same. This happens because the Gaussian Blur e ect (and all Photoshop e ects, for that matter) uses absolute measurements to calculate the e ect. You’ll notice the Gaussian Blur e ect dialog box speci es the blur value in pixels (Figure 7.29). Changing the resolution—the number of pixels in your  le—changes the appearance in pixels (Figure 7.29). Changing the resolution—the number of pixels in your  le— changes the appearance of your e ect. In contrast, the Feather e ect—and all Illustrator e ects—uses relative units to calculate the e ect (Figure 7.30). The Feather dialog box speci es the feather value in inches (or whatever measurement system you’ve chosen in preferences), so when you change the resolution setting, Illustrator simply adjusts the number of pixels it uses in the e ect, as needed. (continues) APPLYING PHOTOSHOP EFFECTS 247 Illustrator E ects and Photoshop E ects (continued) Figure 7.29 The Gaussian Blur e ect uses pixels to calculate the e ect. Figure 7.30 The Feather e ect uses relative units (in this case, inches) to calculate the e ect. Overall, we refer to Photoshop e ects as below-the-line e ects because they appear below the divider line in the E ect menu (Figure 7.31). When using below-the-line e ects, it’s best to ensure that your document raster e ects settings are correct before you begin working on your design. Otherwise, the appearance of your artwork will change when you adjust it later (or if your printer adjusts it). If you use above-the-line e ects (Illustrator e ects), you can get better performance by leaving the document raster e ects settings at a lower resolution until you are about to send the  le out for high-end output. Figure 7.31 All e ects that appear below the line are considered Photoshop e ects and are resolution- dependent. CHAPTER 7: WORKING WITH LIVE EFFECTS 248 A Gallery of Effects Going through each Photoshop effect listed in the Effect menu is beyond the scope of this book, but one feature that really makes it easy to experi- ment with a wide range of Photoshop effects is the Effects Gallery. If you’re familiar with the Photoshop Filter Gallery feature, you’ll fi nd that the Effects Gallery is the same. Once you’ve targeted an object, group, or layer, choose Effect > Effects Gallery, which opens the Filter Gallery dialog box. The dialog box is split into three main sections: a preview on the left, a list of the different effects you can apply in the center, and the parameters for the selected effect on the right (Figure 7.32). To preview different effects, click an effect in the center area (expand the folders to see the individual effects), and adjust the settings at the upper right of the dialog box. Once you’ve found the effect you like, click the OK button to apply it. Figure 7.32 You can spend hours going through the e ects in the Filter Gallery dialog box. Chapter Eight Working with Typography Though a picture speaks 1,000 words, you still need to type words every once in a while. Adobe Illustra- tor CS4 has very powerful typography features, which we’ll cover in detail later in this chapter. Illustrator is a top-notch illustration tool, but it is also capable of set- ting professional-level type—its typography features are on par with those found in the award-winning Adobe InDesign. And although InDesign shines when it comes to setting pages and pages of type, Illustrator is the program of choice for creative uses of type. Graphical applications, such as putting type on a path, putting it around a circle, putting it inside a shape, and wrapping it around an object, are all quick and easy tasks in Illustrator. In this chapter, in addition to the creative uses of type, we’ll explore some important technologies, such as Unicode compliance, as well as some of the newer typography features found in Illustrator. Toward the end of the chapter, we’ll discuss a very important side effect of all this new technology— backward compatibility with previous versions of Illustrator. 249 CHAPTER 8: WORKING WITH TYPOGRAPHY 250 WORKING WITH TEXT OBJECTS For now, it’s suffi cient for you to learn about the two kinds of type objects that Illustrator can create: point text and area text. Naturally, each has its own benefi ts. Point text gets its name from the fact that it is anchored, so to speak, by a single point you create when you fi rst click with the Type tool. Point text is fi ne if you want to enter just a few words or so. The problems are that the type doesn’t wrap automatically and that many typographic controls are not available to you. Area text is contained by a text frame or shape and behaves more like the text you create in a page layout program like InDesign. This is the kind of text object you’ll want to use for longer chunks of type. Working with Point Type The simplest form of text in Illustrator is point type, which you can create by choosing the Type tool and clicking any blank area on your artboard. Once you’ve defi ned a point at which to start typing, you can enter text on the artboard. Point type doesn’t have defi ned boundaries, so text never wraps automatically, although you can press Return (Enter) to manually type on a new line. When you use point type, the paragraph alignment settings (left, right, and center) refer to the single point that you created when you fi rst clicked with the Type tool (Figure 8.1). Although point type is easy to create, many of the powerful text features that Illustrator has, including the Adobe Every-line Composer, text thread- ing, and the ability to set text in columns, are not available. However, if you want to place text in numerous areas of an illustration (such as callouts, maps, graphs, and so on), point type is the way to go. NOTE Illustrator can also create another other kind of type—path type, which is explained later in this chapter. Figure 8.1 Point type aligns di erently depending on the paragraph alignment options you set for the text. WORKING WITH TEXT OBJECTS 251 Working with Area Type As with most page-layout applications, you can also place text within a frame, although with Illustrator, any vector object can serve as a text frame. Area type is text that is enclosed within the confi nes of a vector shape (Figure 8.2). To create an Area Type object, you can either use the Area Type tool to click an existing vector shape or use the Type tool to click inside any closed vector shape (Figure 8.3). Alternatively, you can click and drag a blank area of the artboard with the Type tool to create an Area Ty p e object. Multiple Area Type objects can be linked to have a single story fl ow across them called a thread of text. Text fl ows from line to line automatically within an Area Type object, and more advanced paragraph settings such as columns, Figure 8.2 Area type is enclosed within a frame. Figure 8.3 As you drag the Type tool over an object that can become a text frame, Illustrator displays the tool icon in parentheses. CHAPTER 8: WORKING WITH TYPOGRAPHY 252 composition, hyphenation, and indents are available. We’ll cover text thread- ing and the advanced text features that are available later in the chapter. Area type might take an extra click or two to create, but for uniform layouts and longer runs of copy, you’ll want to use it. Converting Text to Editable Vectors In Chapter 3, “Technical Drawing,” you learned about the primary shape tools in Illustrator. The characters in both Point Type and Area Type objects are vector shapes too, but they can’t be edited as regular vector shapes can because you can’t access their anchor points or direction handles. In essence, text is a special kind of vector object. Fonts have specifi c information built into them, called hinting, which modifi es character shapes slightly based on the size in which text is printed. For example, a lowercase e character has a small hole in the middle, and at really small point sizes, that hole might appear to close up or fi ll in when printed. Font hinting adjusts the size of that hole to be slightly larger at smaller point sizes. You can select any text object and choose Type > Create Outlines to con- vert text into regular, editable vector shapes. Doing so allows you to per- form edits on the actual shapes of the characters (for example, extending an ascender or removing the dot from an i ) but results in the loss of any font hinting (Figure 8.4). Where possible, it’s always best to leave text in an editable state and avoid converting it to vector outlines. In this way, you’ll be able to make edits easily, and you’ll preserve font information. However, sometimes it’s a good idea to convert text to outlines, such as when you’ve created artwork that will be distributed or used in many different places (logos are good exam- ples). In this way, you don’t need to worry about passing font fi les around (which has legal ramifi cations anyway—something we’ll discuss later in the book). Figure 8.4 Converting text to outlines (right) gives you unlimited freedom to edit the vector paths (left). GETTING GLOBAL TEXT SUPPORT WITH UNICODE 253 Why Text Looks “Fatter” When Converted to Outlines You might notice that when you convert text to editable vector outlines, the appearance of that text is bolder than text that is not outlined. There are actually two main reasons behind this (both technical in nature): • The loss of hinting makes certain features potentially inconsistent. For example, letter strokes that you expect to be the same width might turn out to be di erent widths depending on how they fall on the grid of the output device. Slight di erences can get magni ed unexpectedly, such as rounded letters going below the baseline. This happens because the information that makes the outlines round consistently to the pixel grid has been lost. • The change in the  ll algorithm combines with the lack of hinting to make the letters look fatter. Font rasterizing uses a  ll algorithm that turns on a pixel only when the center of the pixel is within the glyph outline (center-scan). Graphics rasterizing uses a  ll algorithm that turns on a pixel when any part of the pixel is within the graphic outline (overscan). Given that the outline is no longer being rounded to pixel boundaries at key points, the rendering will generally be at least 1 pixel thicker and occasionally 2 pixels thicker. Of course, how much di erence this makes depends on the size and style of the type and especially on the resolution of the output device. At 2,400 dots per inch (dpi) with typical text sizes, the e ect is pretty subtle. At 600 dpi with 6-point text, the e ect is quite obvious. Special thanks to Thomas Phinney of Adobe for providing this information. GETTING GLOBAL TEXT SUPPORT WITH UNICODE When you use your keyboard to type words on your computer, each charac- ter you type is stored on your computer by a number. Every font also has a number assigned to each of its characters. This method of mapping charac- ters to numbers is called character encoding. The idea is that when you type an a, your computer matches up its code with the code in the selected font, and an a shows up on your screen. Simple, right? The problem is that not every computer uses the same encoding system. For example, Mac and Windows use different character encodings. Operat- ing systems in different languages and countries around the world also use a variety of encodings. Confl icts also exist in that one system may encode a certain character with a number, whereas another system may have a com- pletely different character encoded for that same number. Because there are NOTE Besides Unicode support, Illustrator also has fantastic support for Asian languages and type features such as Mojikumi, Kinsoku, and composite fonts. To activate these extended features in the English- language version of Illustrator, turn on Show Asian Options in the Type panel of Preferences. [...]... selected paragraph(s) Through the Paragraph panel menu, you can also choose to use the Adobe Single-line Composer or the Adobe Every-line Composer to determine how line breaks are specified in a paragraph of text (see the Adobe Single-Line Composer vs Adobe Every-Line Composer” sidebar) Setting Tabs To create tab settings in Illustrator, select a Path Type or Area Type object, and choose Window > Type > Tabs... different font formats are available As a designer, you may be familiar with PostScript Type 1 fonts, TrueType fonts, or Multiple Master fonts Adobe reduced support for Multiple Master fonts with the release of Illustrator CS, and although those fonts might still work in Illustrator today, there’s no way to take advantage of the extended technology that they were meant to bring TrueType fonts aren’t used... Master Originally developed by Adobe, Multiple Master fonts were intended to give the designer creative freedom to scale fonts to custom widths and weights They are actually a flavor of Type 1 fonts Some Multiple Master fonts also allow designers to scale serifs as well Adobe has since dropped development and support for this format • OpenType Originally developed by Adobe and Microsoft, the intent... glyphs in that font Figure 8.5 The WYSIWYG font menu in Illustrator not only displays a preview of the font but also displays icons to identify the font type—this is especially helpful when you have multiple versions of a font The good news is that you already have OpenType fonts! Illustrator (whether you bought it separately or as part of the Adobe Creative Suite 4 family) automatically installs more... replacement is when Illustrator automatically inserts a ligature for you, as you type, when you’re using an OpenType font Illustrator watches as you enter text, and if it finds a ligature in the font you are using for the characters you type, it automatically swaps the individual characters for the ligature But that isn’t even the cool part Even though the ligature appears on your screen and prints, Illustrator. .. capabilities In addition, Illustrator is specifically sensitive to corrupt fonts, and although a bad font may work in other applications, it can cause problems in Illustrator Several font management utilities are available, including Suitcase, Font Reserve, FontExplorer, and Font Agent, and each of these has components to help you identify and repair problematic fonts TIP If you find that Illustrator is crashing... character as a leader; doing so fills up the space between tabs with the specified character Figure 8.13 Setting tabs in previous versions of Illustrator was never fun Now, it’s easy to align tabs perfectly SPECIFYING CHARACTER AND PARAGRAPH OPTIONS Adobe Single-Line Composer vs Adobe Every-Line Composer When good designers talk about setting a nice paragraph of text, they refer to the color of the type In this... Roman Hanging Punctuation setting makes creating great-looking text almost too easy PUTTING T YPE ON A PATH Having text follow along a path is nothing new to Illustrator users However, if you’ve used Illustrator before, you’ll find that since Illustrator CS, type on a path is implemented quite differently than in previous versions— to the point where it might even seem like a new feature To make it... space between them when set side by side (the letters V and A are the most commonly used example of this) Illustrator has a setting in the Kerning field of the Character panel called Optical, which performs kerning automatically Rather than using metrics tables to define the space between letters, Illustrator looks at the actual glyph shapes and kerns the characters as they appear to the eye (Figure... markets and languages such as Chinese, Japanese, and Korean (what Adobe often refers to as CJK) CID fonts are usually several fonts “sewn” together because many Asian fonts contain far more than 256 glyphs (the limit with PostScript Type 1 fonts) OpenType fonts and something called composite fonts (available only when using Asian fonts in Illustrator) have replaced much of the need for CID fonts these . fonts, or Multiple Master fonts. Adobe reduced support for Multiple Master fonts with the release of Illustrator CS, and although those fonts might still work in Illustrator today, there’s no. lters. You can copy Photoshop fi lters and plug-ins into the Illustrator Plug-ins folder (found in the same folder in which the Illustrator application fi le appears), and they appear listed. resolution settings. CHAPTER 7: WORKING WITH LIVE EFFECTS 246 Illustrator E ects and Photoshop E ects At  rst glance, it may appear that the Illustrator e ects are purely vector in nature and the