Adobe illustrator cs4- P10 docx

W ORKING WITH T EXT O BJECTSFor 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.. Working with Point Type

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

The Warp effect is one of several distortion functions in the Illustrator nal You can use Warp to apply any of 15 different preset distortions to any object, group, or layer

arse-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 eff ects

should be the last

eff ects applied in the stacking

order when multiple eff ects

are being specifi ed;

other-wise, the SVG eff ect will end

up being rasterized

Figure 7.26 The little icons

that appear to the left of

each Warp eff 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

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 eff ect

NOTE Be aware that copying objects with below-the-line eff ects from one document to another may cause the appearance

of the eff ect to change if the two fi les have diff erent resolution settings

Illustrator Eff ects and Photoshop Eff ects

At fi rst glance, it may appear that the Illustrator eff ects are purely vector in nature and the Photoshop eff ects are raster-based ones, but this isn’t true Eff ects such as Feather and Drop Shadow, which appear in the Stylize submenu, are listed as Illustrator eff ects, and they produce raster content So, what then is the distinction between Illustrator and Photoshop eff ects?

The diff erence is relatively simple yet absolutely critical: resolution.

At the beginning of the chapter, you learned how the Document Raster Eff ects Settings dialog box determines the resolution at which eff ects are rasterized when the document is either fl attened or printed But the setting

is also important for determining the appearance of some eff ects Let’s take a look at an example:

1 Open the Document Raster Eff ects Settings dialog box, set the resolution to 72 ppi, and click OK.

2 Draw two identical shapes.

3 Apply a Feather eff ect to one shape (an Illustrator eff ect) and a Gaussian Blur eff ect to the other

(a Photoshop eff ect), and then observe the results (Figure 7.27).

Figure 7.27 Shown are

identical shapes with a Feather eff ect applied (left) and a Gaussian Blur eff ect applied (right) You can see that both appear to be somewhat similar.

4 Now open the Document Raster Eff ects Settings dialog box, change the resolution to 300 ppi, and click

OK Observe the results of the eff 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 eff ect has changed, but the Feather eff ect remained the same This happens because the Gaussian Blur eff ect (and all Photoshop eff ects, for that matter) uses absolute measurements to calculate the eff ect You’ll notice the Gaussian Blur eff ect dialog box specifi es

the blur value in pixels (Figure 7.29) Changing the resolution—the number of pixels in your fi le—changes

the appearance in pixels (Figure 7.29) Changing the resolution—the number of pixels in your fi le—

changes the appearance of your eff ect In contrast, the Feather eff ect—and all Illustrator eff ects—uses

relative units to calculate the eff ect (Figure 7.30) The Feather dialog box specifi 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 eff ect, as needed

(continues)

APPLYING PHOTOSHOP EFFECTS 247

Illustrator Eff ects and Photoshop Eff ects (continued)

Figure 7.29 The Gaussian

Blur eff ect uses pixels to

calculate the eff ect.

Figure 7.30 The Feather eff ect uses

relative units (in this case, inches) to calculate the eff ect.

Overall, we refer to Photoshop eff ects as below-the-line eff ects because they appear below the divider line

in the Eff ect menu (Figure 7.31) When using below-the-line eff ects, it’s best to ensure that your document

raster eff 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 eff ects (Illustrator eff ects), you can get better performance by leaving the document raster eff ects settings at a lower resolution until you are about to send the fi le out for high-end output.

Figure 7.31 All eff ects

that appear below the line are considered Photoshop eff ects and are resolution- dependent.

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

eff 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

W ORKING WITH T EXT O BJECTS

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

diff 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

Type 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.

composition, hyphenation, and indents are available We’ll cover text 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.

thread-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 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

con-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).

GET TING 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 diff erent widths depending on how they fall on the grid

of the output device Slight diff erences can get magnifi 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 fi ll algorithm combines with the lack of hinting to make the letters look fatter Font

rasterizing uses a fi 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 fi 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 diff 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 eff ect is pretty subtle

At 600 dpi with 6-point text, the eff ect is quite obvious.

Special thanks to Thomas Phinney of Adobe for providing this information.

When you use your keyboard to type words on your computer, each

charac-ter you type is stored on your compucharac-ter 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

so many different ways of encoding characters, you can run into a situation where you create a fi le on one computer, and simply opening that same fi le

on a different computer results in words not appearing correctly If you’ve ever typed something on Windows and transferred it to a Mac and noticed that certain characters appear as question marks, appear as weird boxes, or disappear completely, you can now understand why that happened

In 1991, a standard was formed called Unicode, which, as its name implies,

is a single encoding that can be used to describe every single character, in any language, on any computer platform The text engine that was intro-duced in Illustrator CS uses Unicode, and if you use Unicode-compliant fonts to create your documents, you can pass your documents across the world and have them display correctly on any computer

Have you heard about the latest reality show? Ten designers have to create a logo, but fi rst they have to get their fonts to work on their computers Seri-ously, though, we’d think that in a day and age where we can put people on the moon and do just about anything wirelessly, we would have fi gured out the whole font thing by now As you will soon learn, different font formats are available, and each offers different capabilities In addition, Illustrator is specifi cally sensitive to corrupt fonts, and although a bad font may work in other applications, it can cause problems in Illustrator Several font manage-ment 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

More importantly, 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 technol-ogy that they were meant to bring TrueType fonts aren’t used as much in print workfl ows because when they were fi rst introduced, they weren’t as reliable as PostScript Type 1 fonts (although nowadays, those problems no longer exist) Because of this, PostScript Type 1 fonts have always been per-ceived as being higher-quality fonts

NOTE For more

frequently, the cause might

be a corrupt font By turning

off all fonts and activating

them one by one, you

can help troubleshoot

these issues and locate a

problematic font

UNDERSTANDING THE WAY OF THE FONT 255

Another font type, called OpenType, has introduced a new era in working

with fonts, bringing extended functionality and even higher quality to the

desktop

What’s Your Type?

We once had a bumper sticker that declared, “Whoever dies with the most fonts wins.” There’s nothing a

designer loves more than a unique font that no one else has At the same time, with so many fonts out there, you want to make sure you’re using high-quality fonts These days, fonts come in several formats:

• PostScript Type 1 Originally developed by Adobe, PostScript Type 1 fonts consist of a printer or outline

font, a screen or bitmap font, and usually a font metrics fi le (an afm fi le) Type 1 fonts have been ered the high-quality standard over the years, although OpenType is changing that.

consid-• TrueType Originally developed by Apple and Microsoft, the intent of TrueType was to overtake the Type 1

font standard A TrueType font consists of a single fi le TrueType fonts have traditionally been prevalent on Windows computers.

• Multiple 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 fl avor 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 of OpenType is to create a universal

font format that includes the benefi ts of Type 1 and TrueType font technologies In fact, an OpenType font can contain either Type 1 or TrueType outlines An OpenType font is Unicode compliant, is cross-platform, and consists of a single font fi le.

Introducing OpenType

Although PostScript Type 1 fonts are great, they have some issues and

limitations that make them diffi cult to use For one, Type 1 fonts are not

Unicode compliant Second, Type 1 fonts are platform dependent, which

means that if you have the Mac version of a font, you can use that font only

on a Mac You need to purchase a Windows version of a Type 1 font to use

it on a Windows computer Additionally, a Type 1 font consists of two fi les:

a screen font and a printer font, both of which you must have to correctly

print a fi le If you forget to send either of these fi les to a printer, the fi le

won’t print Finally, a Type 1 font is limited to 256 glyphs per font A glyph

is a specifi c graphical representation of a character For a given character,

there may be a default glyph and then alternates For example, a ligature is

NOTE At one time, Adobe off ered certain fonts in “expert” collections; these were created because the type designer wanted to create additional glyphs and characters but ran out of space Creating an expert version of the font gave the designer another 256 glyphs

to work with

a glyph that represents multiple characters Although the English language doesn’t usually require that many glyphs, some languages, such as Chinese, Japanese, and Korean, are severely affected by this limitation.

OpenType fonts address all these limitations and offer extended ality OpenType fonts are Unicode compliant, are platform independent (you can use the same font fi le on both Windows and Mac), and consist of

function-a single font fi le (both printer function-and screen fonts function-are embedded into function-a single

fi le) In addition, OpenType can contain more than 65,000 glyphs in a single font With the 256-glyph limit gone, type designers can create fonts with extended character sets that include real small caps, fractions, swash charac-ters, and anything else they dream up

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 than 100 OpenType fonts on your com-

puter You can quickly identify OpenType fonts in two ways: a green O icon

appears to the left of their font names when you’re scrolling through the

font menu (Figure 8.5), and they end in the letters Std (standard) or Pro.

OpenType Pro fonts contain extended character sets

NOTE OpenType fonts

work with applications

that don’t support OpenType,

but those applications see

only the fi rst 256 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

help-ful when you have multiple

TrueType Font PostScript Type 1 Font

UNDERSTANDING THE WAY OF THE FONT 257

OpenType + Illustrator = Intelligent Fonts

Although the technological benefi ts of OpenType fonts are nice, they are

just half the story From a design perspective, OpenType fonts also offer

superior typographical functionality through something called automatic

glyph replacement.

To best describe what automatic glyph replacement is, we’ll use ligatures

as an example A ligature is a special combination of characters that don’t

ordinarily look that great when they appear together For example, common

ligatures include fi and fl where the lowercase f collides with or overlaps the

following i or l character So, type designers create a new glyph, called a

ligature, which somehow connects the two letters and makes them

aestheti-cally pleasing (Figure 8.6).

The way ligatures are traditionally applied, a designer locates two characters

that appear together, and if the font has a ligature for that character pair, the

designer manually deletes the two characters and replaces them with the

ligature character Besides the extra time it takes to make this switch, this

method has two issues First, a spell checker will fi nd errors when ligatures

are used, because the spelling checker sees a ligature and not two separate

letters Second, if you change the font of your text to a typeface that doesn’t

have a ligature, you end up with a garbage character where the ligature was

Automatic glyph replacement is when Illustrator automatically inserts a

liga-ture for you, as you type, when you’re using an OpenType font Illustrator

watches as you enter text, and if it fi nds 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 still sees it as two separate

characters (you can even place your cursor between the two characters)

That means if you run the spelling checker, you won’t get a spelling error,

and you won’t run into issues if you change fonts If the font you switch to

doesn’t have a ligature, the individual characters are displayed

Figure 8.6 An f and an i

character as they appear together in a word (left) and appearing combined

as a ligature in the same word (right).

What’s astounding is that if you take into account that each OpenType font can contain up to 65,000 glyphs, you’ll realize that this functionality goes way beyond simple ligatures Many OpenType fonts can also automatically replace fractions, ordinals, swash characters, real small caps, discretion-ary ligatures, contextual alternates, and more Of course, the beauty of this functionality is that it happens automatically, so you don’t have to even search through a font to fi nd these special characters.

Using the OpenType Panel

Although automatic glyph replacement is nice, giving a computer program total control over how your text appears is something that should exist only

in the movies In real life, a designer has complete control over a project Choose Window > Type > OpenType to open the OpenType panel where you can specify exactly where and how Illustrator replaces glyphs When you select text that is styled with an OpenType font, you can use the eight icons at the bottom of the panel to turn on and off the automatic glyph

replacement for each kind of feature (Figure 8.7) If icons appear dimmed,

the font you have selected doesn’t contain those kinds of glyphs

OpenType sets perfect fractions because each typeface can contain all

10 numbers at normal, numerator, and denominator sizes

The nice aspect of using the OpenType panel is that you can experiment with different type treatments simply by toggling a few of the panel icons You can still use Type 1 and TrueType fonts with Illustrator, of course, and you can even mix them within the same document, but the OpenType panel works with OpenType fonts only

Figure 8.7 With text

selected, clicking the diff

er-ent icons in the OpenType

panel gives you instant

feedback about the diff erent

glyphs available in a

particu-lar OpenType font.

NOTE OpenType

features can also be

set within paragraph and

character styles, which are

covered later in this chapter