Abstract image of a woman sitting on books and studying on a laptop

Using Adobe Illustrator Cs4 1st Edition Adobe Creative Team

U
ustazkriaf93

Using Adobe Illustrator Cs4 1st Edition Adobe Creative Team Using Adobe Illustrator Cs4 1st Edition Adobe Creative Team Using Adobe Illustrator Cs4 1st Edition Adobe Creative Team

Education
1 of 80
Download to read offline
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
Using Adobe Illustrator Cs4 1st Edition Adobe Creative Team download https://ebookbell.com/product/using-adobe-illustrator-cs4-1st- edition-adobe-creative-team-53214840 Explore and download more ebooks at ebookbell.com
Here are some recommended products that we believe you will be interested in. You can click the link to download. Special Edition Using Adobe Illustrator 10 Special Peter Bauer https://ebookbell.com/product/special-edition-using-adobe- illustrator-10-special-peter-bauer-2535528 Ui Design With Adobe Illustrator Discover The Ease And Power Of Using Illustrator To Design Web Sites And Apps 1st Edition Rick Moore https://ebookbell.com/product/ui-design-with-adobe-illustrator- discover-the-ease-and-power-of-using-illustrator-to-design-web-sites- and-apps-1st-edition-rick-moore-4672698 Ui Design With Adobe Illustrator Discover The Ease And Power Of Using Illustrator To Design Web Sites And Apps Rick Moore https://ebookbell.com/product/ui-design-with-adobe-illustrator- discover-the-ease-and-power-of-using-illustrator-to-design-web-sites- and-apps-rick-moore-50194532 Using Adobe Digital Publishing Suite Wood Brian https://ebookbell.com/product/using-adobe-digital-publishing-suite- wood-brian-38223994
Photoshop Cs2 Raw Using Adobe Camera Raw Bridge And Photoshop To Get The Most Out Of Your Digital Camera 1st Edition Mikkel Aaland https://ebookbell.com/product/photoshop-cs2-raw-using-adobe-camera- raw-bridge-and-photoshop-to-get-the-most-out-of-your-digital- camera-1st-edition-mikkel-aaland-2497096 Photograph Restoration And Enhancement Using Adobe Photoshop Cc 2021 Version 3rd Edition Vickie Ellen Woldper https://ebookbell.com/product/photograph-restoration-and-enhancement- using-adobe-photoshop-cc-2021-version-3rd-edition-vickie-ellen- woldper-33821032 Creative Photography Ideas Using Adobe Photoshop Tony Worobiec https://ebookbell.com/product/creative-photography-ideas-using-adobe- photoshop-tony-worobiec-38074064 Creative Photography Ideas Using Adobe Photoshopcreative Use Of Filters And Further Image Manipulation Tony Worobiec https://ebookbell.com/product/creative-photography-ideas-using-adobe- photoshopcreative-use-of-filters-and-further-image-manipulation-tony- worobiec-48940186 Creative Photography Ideas Using Adobe Photoshop 75 Workshops To Enhance Your Photographs Tony Worobiec https://ebookbell.com/product/creative-photography-ideas-using-adobe- photoshop-75-workshops-to-enhance-your-photographs-tony- worobiec-4416340
Using Adobe Illustrator Cs4 1st Edition Adobe Creative Team
Using ADOBE® ILLUSTRATOR® CS4
Copyright © 2008 Adobe Systems Incorporated. All rights reserved. Using Adobe® Illustrator® CS4 for Windows® and Mac OS If this guide is distributed with software that includes an end user agreement, this guide, as well as the software described in it, is furnished under license and may be used or copied only in accordance with the terms of such license. Except as permitted by any such license, no part of this guide may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, recording, or otherwise, without the prior written permission of Adobe Systems Incorporated. Please note that the content in this guide is protected under copyright law even if it is not distributed with software that includes an end user license agreement. The content of this guide is furnished for informational use only, is subject to change without notice, and should not be construed as a commitment by Adobe Systems Incorporated. Adobe Systems Incorporated assumes no responsibility or liability for any errors or inaccuracies that may appear in the informational content contained in this guide. Please remember that existing artwork or images that you may want to include in your project may be protected under copyright law. The unauthorized incorporation of such material into your new work could be a violation of the rights of the copyright owner. Please be sure to obtain any permission required from the copyright owner. Any references to company names in sample templates are for demonstration purposes only and are not intended to refer to any actual organization. Adobe, the Adobe logo, Adobe Garamond, Acrobat, ActionScript, After Effects, Caflisch Script, Creative Suite, Dreamweaver, Fireworks, Flash, Flex, GoLive, Illustrator, InCopy, InDesign, Kuler, PostScript, Photoshop, Reader, Version Cue, are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. OpenType, Windows, and Windows Vista are registered trademarks of Microsoft Corporation in the U.S and/or other countries. Mac, Macintosh, and Mac OS are trademarks of Apple Inc., registered in the United States and other countries. Symbian and all Symbian based marks and logos are trademarks of Symbian Limited. SVG is a trademark of the World Wide Web Consortium; marks of the W3C are registered and held by its host institutions MIT, INRIA and Keio. All other trademarks are the property of their respective owners. This product includes either BISAFE and/or TIPEM software by RSA Data Security, Inc.Copyright © 1995-2002 Metrowerks Corporation. All rights reserved. Copyright © 1994 Hewlett-Packard CompanyCopyright © 1996, 1997 Silicon Graphics Computer Systems, Inc. Copyright © 1998 Gilles Vollant This product includes software developed by the Apache Software Foundation (http://www.apache.org) This Program was written with MacApp®: ©1985-1988 Apple Computer, Inc. The MacApp software is proprietary to Apple Computer, Inc. and is licensed to Adobe for distribution only for use in combination with Adobe Illustrator. PANTONE® Colors displayed in the software application or in the user documentation may not match PANTONE-identified standards. Consult current PANTONE Color Publications for accurate color. PANTONE® and other Pantone, Inc. trademarks are property of Pantone, Inc. © Pantone, Inc. 2006. Pantone, Inc. is the copyright owner of color data and/or software which are licensed to Adobe Systems Incorporated to distribute for use only in combination with Adobe Illustrator. PANTONE Color Data and/or Software shall not be copied onto another disk or into memory unless as part of the execution of Adobe Illustrator software. Software is produced under DIC's copyrights of color-data-base derived from Sample Books. Flash 9 video is powered by On2 TrueMotion video technology. © 1992-2005 On2 Technologies, Inc. All Rights Reserved. http://www.on2.com This product includes software developed by the OpenSymphony Group (http://www.opensymphony.com/) Portions of this code are licensed from Nellymoser (www.nellymoser.com) Sorenson Spark™ video compression and decompression technology licensed from Sorenson Media, Inc. Certain Spelling portions of this product are based on Proximity Linguistic Technology. ©Copyright 1990 Merriam-Webster Inc. ©Copyright 1990 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 2003 Franklin Electronic Publishers Inc.©Copyright 2003 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. Legal Supplement ©Copyright 1990/1994 Merriam-Webster Inc./Franklin Electronic Publishers Inc. ©Copyright 1994 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1990/1994 Merriam-Webster Inc./Franklin Electronic Publishers Inc. ©Copyright 1997All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA ©Copyright 1990 Merriam-Webster Inc. ©Copyright 1993 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 2004 Franklin Electronic Publishers Inc. ©Copyright 2004 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1991 Dr. Lluis de Yzaguirre I Maura ©Copyright 1991 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1990 Munksgaard International Publishers Ltd. ©Copyright 1990 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1990 Van Dale Lexicografie bv ©Copyright 1990 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1995 Van Dale Lexicografie bv ©Copyright 1996 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1990 IDE a.s. ©Copyright 1990 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1992 Hachette/Franklin Electronic Publishers Inc. ©Copyright 2004 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1991 Text & Satz Datentechnik ©Copyright 1991 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 2004 Bertelsmann Lexikon Verlag ©Copyright 2004 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 2004 MorphoLogic Inc. ©Copyright 2004 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1990 William Collins Sons & Co. Ltd. ©Copyright 1990 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1993-95 Russicon Company Ltd. ©Copyright 1995 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 2004 IDE a.s. ©Copyright 2004 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. The Hyphenation portion of this product is based on Proximity Linguistic Technology. ©Copyright 2003 Franklin Electronic Publishers Inc.©Copyright 2003 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1984 William Collins Sons & Co. Ltd. ©Copyright 1988 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1990 Munksgaard International Publishers Ltd. ©Copyright 1990 All rights
reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1997 Van Dale Lexicografie bv ©Copyright 1997 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1984 Editions Fernand Nathan ©Copyright 1989 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1983 S Fischer Verlag ©Copyright 1997 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1989 Zanichelli ©Copyright 1989 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1989 IDE a.s. ©Copyright 1989 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1990 Espasa-Calpe ©Copyright 1990 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1989 C.A. Stromberg AB. ©Copyright 1989 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. Notice to U.S. Government End Users: The Software and Documentation are “Commercial Items,” as that term is defined at 48 C.F.R. §2.101, consisting of “Commercial Computer Software” and “Commercial Computer Software Documentation,” as such terms are used in 48 C.F.R. §12.212 or 48 C.F.R. §227.7202, as applicable. Consistent with 48 C.F.R. §12.212 or 48 C.F.R. §§227.7202-1 through 227.7202-4, as applicable, the Commercial Computer Software and Commercial Computer Software Documentation are being licensed to U.S. Government end users (a) only as Commercial Items and (b) with only those rights as are granted to all other end users pursuant to the terms and conditions herein. Unpublished-rights reserved under the copyright laws of the United States. Adobe agrees to comply with all applicable equal opportunity laws including, if appropriate, the provisions of Executive Order 11246, as amended, Section 402 of the Vietnam Era Veterans Readjustment Assistance Act of 1974 (38 USC 4212), and Section 503 of the Rehabilitation Act of 1973, as amended, and the regulations at 41 CFR Parts 60-1 through 60-60, 60-250, and 60-741. The affirmative action clause and regulations contained in the preceding sentence shall be incorporated by reference. Adobe Systems Incorporated, 345 Park Avenue, San Jose, California 95110, USA.
iv Contents Chapter 1: Resources Activation and registration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Help and support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 Services, downloads, and extras . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 What’s new . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Chapter 2: Workspace Workspace basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Customizing the workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Tool galleries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Files and templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Manage connections to web services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Working with ConnectNow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Using multiple artboards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Viewing artwork . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 Rulers, grids, guides, and crop marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Setting preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 Recovery, undo, and automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 Chapter 3: Drawing Drawing basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 Drawing simple lines and shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Drawing with the Pencil tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Drawing with the Pen tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 Editing paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 Tracing artwork . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78 Symbolism tools and symbol sets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84 Drawing flares . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 Chapter 4: Color About color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Selecting colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 Using and creating swatches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 Working with color groups (harmonies) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106 Kuler panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121 Adjusting colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122 Chapter 5: Color management Understanding color management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127 Keeping colors consistent . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129 Color-managing imported images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133 Color-managing documents for online viewing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
v Proofing colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135 Color-managing documents when printing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138 Working with color profiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140 Color settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145 Chapter 6: Painting Painting with fills and strokes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150 Live Paint groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158 Brushes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166 Transparency and blending modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174 Gradients . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181 Meshes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185 Patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188 Chapter 7: Selecting and arranging objects Selecting objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194 Grouping and expanding objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203 Moving, aligning, and distributing objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204 Rotating and reflecting objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208 Using layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212 Locking, hiding, and deleting objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216 Stacking objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217 Duplicating objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218 Chapter 8: Reshaping objects Transforming objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221 Scaling, shearing, and distorting objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223 Reshape using envelopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227 Combining objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230 Cutting and dividing objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237 Clipping masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238 Blending objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241 Reshaping objects with effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245 Creating 3D objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246 Chapter 9: Importing, exporting, and saving Importing files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254 Importing bitmap images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258 Importing Adobe PDF files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260 Importing EPS, DCS, and AutoCAD files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261 Importing artwork from Photoshop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263 Saving artwork . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264 Exporting artwork . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270 Creating Adobe PDF files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278 Adobe PDF options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282 File information and metadata . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289
vi Chapter 10: Type Importing text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291 Creating point and area type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292 Creating type on a path . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299 Scaling and rotating type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302 Spelling and language dictionaries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303 Fonts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305 Formatting type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308 Line and character spacing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316 Special characters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318 Formatting paragraphs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321 Hyphenation and line breaks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325 Tabs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327 Character and paragraph styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 330 Exporting text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332 Formatting Asian characters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334 Creating composite fonts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342 Updating text from Illustrator 10 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345 Chapter 11: Creating special effects Appearance attributes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347 Working with effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352 Summary of effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355 Drop shadows, glows, and feathering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361 Creating sketches and mosaics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363 Graphic styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364 Chapter 12: Web graphics Best practices for creating web graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369 Slices and image maps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372 SVG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376 Creating animations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 379 Optimizing images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382 Web graphics optimization options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 387 Output settings for web graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 399 Chapter 13: Printing Setting up documents for printing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 402 Printing color separations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407 Printer’s marks and bleed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 410 PostScript printing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 412 Printing with color management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 414 Printing gradients, meshes, and color blends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 416 Printing and saving transparent artwork . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 419 Overprinting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 426 Trapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 427 Print presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 431
vii Chapter 14: Automating tasks Actions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 434 Scripts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441 Data-driven graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 442 Chapter 15: Graphs Creating graphs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447 Formatting graphs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451 Adding pictures and symbols to graphs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 455 Chapter 16: Keyboard shortcuts Customizing keyboard shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 460 Default keyboard shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 461 Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 473
1 Chapter 1: Resources Before you begin working with your software, take a few moments to read an overview of activation and the many resources available to you. You have access to instructional videos, plug-ins, templates, user communities, seminars, tutorials, RSS feeds, and much more. Activation and registration Help with installation For help with installation issues, see the Installation Support Center at www.adobe.com/go/cs4install. License activation During the installation process, your Adobe software contacts Adobe to complete the license activation process. No personal data is transmitted. For more information on product activation, visit the Adobe website at www.adobe.com/go/activation. A single-user retail license activation supports two computers. For example, you can install the product on a desktop computer at work and on a laptop computer at home. If you want to install the software on a third computer, first deactivate it on one of the other two computers. Choose Help > Deactivate. Register Register your product to receive complimentary installation support, notifications of updates, and other services. ❖ To register, follow the on-screen instructions in the Registration dialog box, which appears after you install the software. If you postpone registration, you can register at any time by choosing Help > Registration. Adobe Product Improvement Program After you use your Adobe software a certain number of times, a dialog box may appear asking whether you want to participate in the Adobe Product Improvement Program. If you choose to participate, data about your use of Adobe software is sent to Adobe. No personal information is recorded or sent. The Adobe Product Improvement Program only collects information about which features and tools you use and how often you use them. You can opt in to or out of the program at any time: • To participate, choose Help > Adobe Product Improvement Program and click Yes, Participate. • To stop participating, choose Help > Adobe Product Improvement Program and click No, Thank You.
2 USING ADOBE ILLUSTRATOR CS4 Resources ReadMe A ReadMe file for your software is available online and on the installation disc. Open the file to read important information about topics such as the following: • System requirements • Installation (including uninstalling the software) • Activation and registration • Font installation • Troubleshooting • Customer support • Legal notices Help and support Community Help Community Help is an integrated environment on adobe.com that gives you access to community-generated content moderated by Adobe and industry experts. Comments from users help guide you to an answer. Search Community Help to find the best content on the web about Adobe products and technologies, including these resources: • Videos, tutorials, tips and techniques, blogs, articles, and examples for designers and developers. • Complete online Help, which is updated regularly and is more complete than the Help delivered with your product. If you are connected to the Internet when you access Help, you automatically see the complete online Help rather than the subset delivered with your product. • All other content on Adobe.com, including knowledgebase articles, downloads and updates, Developer Connection, and more. Use the help search field in your product’s user interface to access Community Help. For a video of Community Help, see www.adobe.com/go/lrvid4117_xp. Other resources Printed versions of the complete online Help are available for the cost of shipping and handling at www.adobe.com/go/store. Online Help also includes a link to the complete, updated PDF version of Help. Visit the Adobe Support website at www.adobe.com/support to learn about free and paid technical support options. Services, downloads, and extras You can enhance your product by integrating a variety of services, plug-ins, and extensions in your product. You can also download samples and other assets to help you get your work done.
3 USING ADOBE ILLUSTRATOR CS4 Resources Adobe creative online services Adobe® Creative Suite® 4 includes new online features that bring the power of the web to your desktop. Use these features to connect with the community, collaborate, and get more from your Adobe tools. Powerful creative online services let you complete tasks ranging from color matching to data conferencing. The services seamlessly integrate with desktop applications so you can quickly enhance existing workflows. Some services offer full or partial functionality when you’re offline too. Visit Adobe.com to learn more about available services. Some Creative Suite 4 applications include these initial offerings: Kuler™ panel Quickly create, share, and explore color themes online. Adobe® ConnectNow Collaborate with dispersed working teams over the web, sharing voice, data, and multimedia. Resource Central Instantly access tutorials, sample files, and extensions for Adobe digital video applications. For information on managing your services, see the Adobe website at www.adobe.com/go/learn_creativeservices_en. Adobe Exchange Visit the Adobe Exchange at www.adobe.com/go/exchange to download samples as well as thousands of plug-ins and extensions from Adobe and third-party developers. The plug-ins and extensions can help you automate tasks, customize workflows, create specialized professional effects, and more. Adobe downloads Visit www.adobe.com/go/downloads to find free updates, tryouts, and other useful software. Adobe Labs Adobe Labs at www.adobe.com/go/labs gives you the opportunity to experience and evaluate new and emerging technologies and products from Adobe. At Adobe Labs, you have access to resources such as these: • Prerelease software and technologies • Code samples and best practices to accelerate your learning • Early versions of product and technical documentation • Forums, wiki-based content, and other collaborative resources to help you interact with like-minded users. Adobe Labs fosters a collaborative software development process. In this environment, customers quickly become productive with new products and technologies. Adobe Labs is also a forum for early feedback. The Adobe development teams use this feedback to create software that meets the needs and expectations of the community. Adobe TV Visit Adobe TV at http://tv.adobe.com to view instructional and inspirational videos. Extras The installation disc contains a variety of extras to help you make the most of your Adobe software. Some extras are installed on your computer during the setup process; others are located on the disc. To view the extras installed during the setup process, navigate to the application folder on your computer. • Windows®: [startup drive]Program FilesAdobe[Adobe application]
4 USING ADOBE ILLUSTRATOR CS4 Resources • Mac OS®: [startup drive]/Applications/[Adobe application] To view the extras on the disc, navigate to the Goodies folder in your language folder on the disc. Example: • /English/Goodies/ What’s new Enriched workspace tools Multiple artboards in your documents Create multi-page files containing up to 100 artboards of varying sizes. You can create artboards that overlap, appear side-by-side, or are stacking on top of one another. You can also save, export and print artboards independently or together. Multiple artboards have replaced the Crop Area tool. (See “Using multiple artboards” on page 34.) Tabbed document windows and Document Arrangement panel Display multiple documents in a tabbed view or open them side by side so you can easily compare or drag items from one document to another. Simply click a document’s tab to open it, or click Close (x) on a tab to close it. Use the intuitive Arrange Documents window to quickly arrange your open documents in a variety of configurations. (See “Manage Document windows” on page 12.) Application bar and workspace switcher From the application bar at the top of each Creative Suite application, provides menus and options in one easy to access place. Use the workspace switcher to quickly jump to different workspace configurations to meet your specific needs. Also along this bar, you can access Adobe Bridge and the document arrangement panel. (See “Workspace overview” on page 7.) Practical smart guides Smart guides are now even more practical with unobtrusive appearance and behaviors. Instant pop-ups appear with alignment and measurement information, such as deltas between objects and angles of rotation (that you can specify) and when moving or transforming objects. Of course, objects still snap to any alignment you choose to make it easy to arrange and transform objects exactly how you want. (See “Smart Guides” on page 45.) Quick, easy, and obvious key object alignment The Align panel and Control panel now provide quick access to the key alignment option. A key object is the one object that you want other objects to align to. You specify a key object by selecting all the objects you want to align, including the key object, and then clicking again on the key object. When selected, the key objects appears with a thick blue outline, and the Align To Key Object icon appears in the Control panel and Align panel. Simply choose an alignment option, such as Horizontal Align Left or Vertical Align Center, and all the other selected objects align to the key object. (See “Align or distribute relative to a key object” on page 207.)
5 USING ADOBE ILLUSTRATOR CS4 Resources New drawing and color tools Blob Brush tool for merging paths Use the Blob Brush to draw paths that merge with existing artwork. The Blob Brush draws paths that are fill only - no stroke - and can merge with existing artwork that has the same fill, and no stroke. The Blob Brush can merge with existing artwork that has complicated appearances (as long as there is no stroke on the artwork and the Blob Brush is set up to paint with the exact same fill and appearance settings. For example, if you’ve created a yellow filled rectangle with a drop shadow applied, you can set up the Blob Brush with those attributes and then draw a path across the rectangle, and the two paths will be merged. You can easily select and edit the resulting shape. Use the Blob Brush together with the Eraser tool for truly intuitive vector painting. (See “Draw and merge paths with the Blob Brush tool” on page 154.) Expanded Gradients panel and tool Using the enhanced Gradient tool, you can interact with gradients on the object itself by adding or changing color stops, applying transparency to color stops, and changing the direction or angle of a linear or elliptical gradient (also new in CS4). The Gradient panel now provides a menu of all your saved gradients, directly access color panels, and apply transparency to individual color spots, among other things. (See “Gradients” on page 181.) Transparency in gradients Create gradients with two to many colors and define the opacity of any or all individual colors. By specifying different opacity values for the different color stops in your gradient, you can create gradients that fade in or out and reveal or hide underlying images. (See “Gradients” on page 181.) Separations Preview panel Preview your color separations on your monitor before printing to avoid color output surprises such as unexpected spot colors and unwanted overprinting. The Separations Preview panel lets you easily turn colors on and off so you can see how blending, transparency, and overprinting will appear in color-separated output. (See “Preview color separations” on page 408.) Improved access to core functionality Clipping masks with clear simplified appearance and access Adobe Illustrator now displays only the masked area while you are moving or transforming a masked object. Double- click the masked object to open it in Isolation mode, where you can view and edit the mask independently of all other objects. (See “Clipping masks” on page 238 and “Isolate artwork for editing” on page 195.) In-panel Appearance editing Select an item in the Appearance panel to view and use the enhanced full-featured controls. Click hyper-links to open option dialog boxes for effects, strokes, and fills. Click a visibility icon for any attribute to easily turn it on or off. (See “Appearance attributes” on page 347.)
6 USING ADOBE ILLUSTRATOR CS4 Resources Enriched Graphic Styles panel The newly updated Graphic Styles panel provides you with a quick and easy way to view and apply styles to objects in your document. Use the Use Text For Preview option to view a style as it appears on text, or right-click a thumbnail to quickly preview how that style will look on a selected object on the artboard. Effect-only styles now display the outlines of the object on which the style was created, so you can recognize your effect-only styles at a glance. Merge a style with an object’s existing style or merge two or more different styles on an object by simply using the Alt or Option key when applying the style. (See “Graphic styles” on page 364.) Enhanced integration at export Support for Flex extensions Efficiently deliver more editable, workable content to developers for web, interactive, and RIA projects. For instance, use the Flex Skins for Illustrator to create and export vector skins in the Adobe Flex format. (See “Save in FXG format” on page 267.) Multiple artboard export support Creating documents with multiple artboards now makes it easy to create multi-page documents for exporting. You can export artboards to any of the following formats: PDF, PSD, SWF, JPEG, PNG, and TIFF. Or import a multiple artboard Illustrator file into Adobe InDesign or Adobe Flash.You can now easily create multiple-page PDFs. When exporting to Flash SWF format, multiple artboards export as multiple files. (See “Saving artwork” on page 264 and “Export artwork” on page 270.)
7 Chapter 2: Workspace Welcome to Adobe® Illustrator® CS4. Illustrator gives you an efficient workspace and user interface to create and edit artwork for print, the web, and mobile devices. To see a video on using Adobe Illustrator, see www.adobe.com/go/lrvid4015_ai. Workspace basics Workspace overview You create and manipulate your documents and files using various elements, such as panels, bars, and windows. Any arrangement of these elements is called a workspace. The workspaces of the different applications in Adobe® Creative Suite® 4 share the same appearance so that you can move between the applications easily. You can also adapt each application to the way you work by selecting from several preset workspaces or by creating one of your own. Although the default workspace layout varies in different products, you manipulate the elements much the same way in all of them.
8 USING ADOBE ILLUSTRATOR CS4 Workspace Default Illustrator workspace A. Tabbed Document windows B. Application bar C. Workplace switcher D. Panel title bar E. Control panel F. Tools panel G. Collapse To Icons button H. Four panel groups in vertical dock • The Application bar across the top contains a workspace switcher, menus (Windows only), and other application controls. On the Mac for certain products, you can show or hide it using the Window menu. • The Tools panel contains tools for creating and editing images, artwork, page elements, and so on. Related tools are grouped. • The Control panel displays options for the currently selected tool. The Control panel is also known as the options bar in Photoshop. (Adobe Flash®, Adobe Dreamweaver®, and Adobe Fireworks® have no Control panel.) • Flash, Dreamweaver, and Fireworks have a Property inspector that displays options for the currently selected element or tool. • The Document window displays the file you’re working on. Document windows can be tabbed and, in certain cases, grouped and docked. • Panels help you monitor and modify your work. Examples include the Timeline in Flash, the Layers panel in Adobe Photoshop®, and the CSS Styles panel in Dreamweaver. Panels can be grouped, stacked, or docked. G F H A B D C E
9 USING ADOBE ILLUSTRATOR CS4 Workspace • On the Mac, the Application frame groups all the workspace elements in a single, integrated window that lets you treat the application as a single unit. When you move or resize the Application frame or any of its elements, all the elements within it respond to each other so none overlap. Panels don’t disappear when you switch applications or when you accidentally click out of the application. If you work with two or more applications, you can position each application side by side on the screen or on multiple monitors. If you prefer the traditional, free-form user interface of the Mac, you can turn off the Application frame. In Adobe Illustrator®, for example, select Window > Application Frame to toggle it on or off. (In Flash, the Application frame is on permanently. Dreamweaver does not use an Application frame.) Hide or show all panels • (Illustrator, Adobe InCopy®, Adobe InDesign®, Photoshop, Fireworks)To hide or show all panels, including the Tools panel and Control panel, press Tab. • (Illustrator, InCopy, InDesign, Photoshop) To hide or show all panels except the Tools panel and Control panel, press Shift+Tab. You can temporarily display hidden panels if Auto-Show Hidden Panels is selected in Interface preferences. It’s always on in Illustrator. Move the pointer to the edge of the application window (Windows®) or to the edge of the monitor (Mac OS®) and hover over the strip that appears. • (Flash, Dreamweaver, Fireworks) To hide or show all panels, press F4. Display panel options ❖ Click the panel menu icon in the upper-right corner of the panel. You can open a panel menu even when the panel is minimized. (Illustrator) Adjust panel brightness ❖ In User Interface preferences, move the Brightness slider. This control affects all panels, including the Control panel. Reconfigure the Tools panel You can display the tools in the Tools panel in a single column, or side by side in two columns. (This feature is not available in the Tools panel in Fireworks and Flash.) In InDesign and InCopy, you also can switch from single-column to double-column (or single-row) display by setting an option in Interface preferences. ❖ Click the double arrow at the top of the Tools panel. Search For Help box Use the Search For Help box on the right side of the Application bar to search for Help topics and online content. If you have an active Internet connection, you can access all content on the Community Help website. If you search for Help without an active Internet connection, search results are limited to Help content that is included with Illustrator. 1 In the search box, type the name of the item on which you want to search (such as a feature, application, or tool). 2 Press Enter. All topics available from the Community Help center appear in a separate browser window.
10 USING ADOBE ILLUSTRATOR CS4 Workspace About screen modes You can change the visibility of the illustration window and menu bar using the mode options at the bottom of the Tools panel. To access panels when in Full Screen Mode, position the cursor at the left or right edge of the screen and the panels will pop up. If you’ve moved them from their default locations, you can access them from the Window menu. You can choose one of the following modes: • Normal Screen Mode displays artwork in a standard window, with a menu bar at the top and scroll bars on the sides. • Full Screen Mode With Menu Bar displays artwork in a full-screen window, with a menu bar at the top and scroll bars. • Full Screen Mode displays artwork in a full-screen window, with no title bar or menu bar. Using the status bar The status bar appears at the lower-left edge of the illustration window. It displays any of the following: • current zoom level • current tool in use • current artboard in use • navigation controls for multiple artboards • date and time • number of undos and redos available • document color profile • status of a managed file Click the status bar to do any of the following: • Change the type of information displayed in the status bar by selecting an option from the Show submenu. • Show the current file in Adobe Bridge by choosing Reveal In Bridge. • Access Version Cue® commands. See also “Adobe Version Cue” on page 32 Enter values in panels and dialog boxes You enter values using the same methods in all panels and dialog boxes. You can also perform simple math in any box that accepts numeric values. For example, if you want to move a selected object 3 units to the right using the current measurement units, you don’t have to work out the new horizontal position—simply type +3 after the current value in the Transform panel. Enter a value in a panel or dialog box ❖ Do any of the following: • Type a value in the box, and press Enter or Return. • Drag the slider.
11 USING ADOBE ILLUSTRATOR CS4 Workspace • Drag the dial. • Click the arrow buttons in the panel to increase or decrease the value. • Click in the box and then use the Up Arrow key and Down Arrow key on the keyboard to increase or decrease the value. Hold down Shift and click an arrow key to magnify the increase rate or decrease rate. • Select a value from the menu associated with the box. Ways to enter values A. Arrow buttons B. Text box C. Menu arrow D. Slider E. Dial Calculate values in a panel or dialog box 1 In a text box that accepts numerical values, do one of the following: • To replace the entire current value with a mathematical expression, select the entire current value. • To use the current value as part of a mathematical expression, click before or after the current value. 2 Type a simple mathematical expression using a single mathematical operator, such as + (plus), - (minus), x (multiplication), / (division), or % (percent). For example, 0p0 + 3 or 5mm + 4. Similarly, 3cm * 50% equals 3 centimeters multiplied by 50%, or 1.50 cm, and 50pt + 25% equals 50 points plus 25% of 50 points, or 62.5 points. 3 Press Enter or Return to apply the calculation. Control panel overview The Control panel offers quick access to options related to the objects you select. By default, the Control panel is docked at the top of the workspace. Options displayed in the Control panel vary depending on the type of object or tool you select. For example, when you select a text object, the Control panel displays text-formatting options in addition to options for changing the color, placement, and dimensions of the object. When a selection tool is active, you can access Document Setup and Preferences from the Control panel. Control panel A. Hidden options B. Link to another panel C. Panel menu When text in the Control panel is blue and underlined, you can click the text to display a related panel or dialog box. For example, click the word Stroke to display the Stroke panel. A B C E D A B C
12 USING ADOBE ILLUSTRATOR CS4 Workspace Change the kinds of controls that appear in the Control panel ❖ Select or deselect options in the Control panel menu. Open and close a panel or dialog box from the Control panel 1 Click a blue underlined word to open its associated panel or dialog box. 2 Click anywhere outside of the panel or dialog box to close it. Dock the Control panel at the bottom of the workspace ❖ Choose Dock To Bottom from the Control panel menu. Convert the Control panel to a floating panel ❖ Drag the gripper bar (located on the left edge of the panel) away from its current position. To redock the Control panel, drag the gripper bar to the top or bottom of the application window (Windows) or screen (Mac OS). Customizing the workspace Manage windows and panels You can create a custom workspace by moving and manipulating Document windows and panels. You can also save workspaces and switch among them. Note: The following examples use Photoshop for demonstration purposes. The workspace behaves the same in all the products. Narrow blue drop zone indicates Color panel will be docked on its own above the Layers panel group. A. Title bar B. Tab C. Drop zone In Photoshop, you can change the font size of the text in the Control panel, in the panels, and in tool tips. Choose a size from the UI Font Size menu in Interface preferences. Manage Document windows When you open more than one file, the Document windows are tabbed. • To rearrange the order of tabbed Document windows, drag a window’s tab to a new location in the group. • To undock a Document window from a group of windows, drag the window’s tab out of the group. • To dock a Document window to a separate group of Document windows, drag the window into the group. A B C
13 USING ADOBE ILLUSTRATOR CS4 Workspace Note: Dreamweaver does not support docking and undocking Document windows. Use the Document window’s Minimize button to create floating windows. • To create groups of stacked or tiled documents, drag the window to one of the drop zones along the top, bottom, or sides of another window. You can also select a layout for the group by using the Layout button on the Application bar. Note: Some products do not support this functionality. However, your product may have Cascade and Tile commands in the Window menu to help you lay out your documents. • To switch to another document in a tabbed group when dragging a selection, drag the selection over the document’s tab for a moment. Note: Some products do not support this functionality. Dock and undock panels A dock is a collection of panels or panel groups displayed together, generally in a vertical orientation. You dock and undock panels by moving them into and out of a dock. Note: Docking is not the same as stacking. A stack is a collection of floating panels or panel groups, joined top to bottom. • To dock a panel, drag it by its tab into the dock, at the top, bottom, or in between other panels. • To dock a panel group, drag it by its title bar (the solid empty bar above the tabs) into the dock. • To remove a panel or panel group, drag it out of the dock by its tab or title bar. You can drag it into another dock or make it free-floating. Navigator panel being dragged out to new dock, indicated by blue vertical highlight Navigator panel now in its own dock
14 USING ADOBE ILLUSTRATOR CS4 Workspace You can prevent panels from filling all the space in a dock. Drag the bottom edge of the dock up so it no longer meets the edge of the workspace. Move panels As you move panels, you see blue highlighted drop zones, areas where you can move the panel. For example, you can move a panel up or down in a dock by dragging it to the narrow blue drop zone above or below another panel. If you drag to an area that is not a drop zone, the panel floats freely in the workspace. • To move a panel, drag it by its tab. • To move a panel group or a stack of floating panels, drag the title bar. Press Ctrl (Windows) or Command (Mac OS) while moving a panel to prevent it from docking. Press Esc while moving the panel to cancel the operation. Note: The dock is stationary and can’t be moved. However, you can create panel groups or stacks and move them anywhere. Add and remove panels If you remove all panels from a dock, the dock disappears. You can create a dock by moving panels to the right edge of the workspace until a drop zone appears. • To remove a panel, right-click (Windows) or Control-click (Mac) its tab and then select Close, or deselect it from the Window menu. • To add a panel, select it from the Window menu and dock it wherever you want. Manipulate panel groups • To move a panel into a group, drag the panel’s tab to the highlighted drop zone in the group. Adding a panel to a panel group • To rearrange panels in a group, drag a panel’s tab to a new location in the group. • To remove a panel from a group so that it floats freely, drag the panel by its tab outside the group. • To move a group, drag the title bar (the area above the tabs). Stack floating panels When you drag a panel out of its dock but not into a drop zone, the panel floats freely. The floating panel allows you to position it anywhere in the workspace. You can stack floating panels or panel groups so that they move as a unit when you drag the topmost title bar. (Panels that are part of a dock cannot be stacked or moved as a unit in this way.)
15 USING ADOBE ILLUSTRATOR CS4 Workspace Free-floating stacked panels • To stack floating panels, drag a panel by its tab to the drop zone at the bottom of another panel. • To change the stacking order, drag a panel up or down by its tab. Note: Be sure to release the tab over the narrow drop zone between panels, rather than the broad drop zone in a title bar. • To remove a panel or panel group from the stack, so that it floats by itself, drag it out by its tab or title bar. Resize panels • To minimize or maximize a panel, panel group, or stack of panels, double-click a tab. You can also single-click the tab area (the empty space next to the tabs). • To resize a panel, drag any side of the panel. Some panels, such as the Color panel in Photoshop, cannot be resized by dragging. Manipulate panels collapsed to icons You can collapse panels to icons to reduce clutter on the workspace. In some cases, panels are collapsed to icons in the default workspace. Panels collapsed to icons Panels expanded from icons • To collapse or expand all panel icons in a dock, click the double arrow at the top of the dock. • To expand a single panel icon, click it. • To resize panel icons so that you see only the icons (and not the labels), adjust the width of the dock until the text disappears. To display the icon text again, make the dock wider.
16 USING ADOBE ILLUSTRATOR CS4 Workspace • To collapse an expanded panel back to its icon, click its tab, its icon, or the double arrow in the panel’s title bar. In some products, if you select Auto-Collapse Icon Panels from the Interface or User Interface Options preferences, an expanded panel icon collapses automatically when you click away from it. • To add a floating panel or panel group to an icon dock, drag it in by its tab or title bar. (Panels are automatically collapsed to icons when added to an icon dock.) • To move a panel icon (or panel icon group), drag the icon. You can drag panel icons up and down in the dock, into other docks (where they appear in the panel style of that dock), or outside the dock (where they appear as floating, expanded panels). Restore the default workspace • Select the default workspace from the workspace switcher in the Application bar. • (Photoshop) Select Window > Workspace > Default Workspace. • (InDesign, InCopy) Select Window > Workspace > Reset [Workspace Name]. Rename or duplicate a workspace 1 Choose Window > Workspace > Manage Workspaces. 2 Do any of the following, and then click OK: • To rename a workspace, select it, and edit the text. • To duplicate a workspace, select it, and click the New button. For a video on customizing the workspace based on different workflows, see www.adobe.com/go/vid0032. Save and switch workspaces By saving the current size and position of panels as a named workspace, you can restore that workspace even if you move or close a panel. The names of saved workspaces appear in the workspace switcher in the Application bar. In Photoshop, the saved workspace can include a specific keyboard shortcut set and menu set. Save a custom workspace 1 With the workspace in the configuration you want to save, do one of the following: • (Photoshop, Illustrator) Choose Window > Workspace > Save Workspace. • (InDesign, InCopy) Choose Window > Workspace > New Workspace. • (Dreamweaver) Choose Window > Workspace Layout > New Workspace. • (Flash) Choose New Workspace from the workspace switcher in the Application bar. • (Fireworks) Choose Save Current from the workspace switcher in the Application bar. 2 Type a name for the workspace. 3 (Photoshop, InDesign) Under Capture, select one or more options: Panel Locations Saves the current panel locations. Keyboard shortcuts Saves the current set of keyboard shortcuts (Photoshop only). Menus Saves the current set of menus. 4 Click OK or Save.
17 USING ADOBE ILLUSTRATOR CS4 Workspace Display or switch workspaces ❖ Select a workspace from the workspace switcher in the Application bar. In Photoshop, you can assign keyboard shortcuts to each workspace to navigate among them quickly. Delete a custom workspace • Select Manage Workspaces from the workspace switcher in the Application bar, select the workspace, and then click Delete. (The option is not available in Fireworks.) • (Photoshop, InDesign, InCopy) Select Delete Workspace from the workspace switcher. • (Illustrator) Choose Window > Workspace > Manage Workspaces, select the workspace, and then click the Delete icon. • (InDesign) Choose Window > Workspace > Delete Workspace, select the workspace, and then click Delete. (Photoshop) Start with the last or default panel locations When you start Photoshop, panels can either appear in their original default locations, or appear as you last used them. In Interface preferences: • To display panels in their last locations on startup, select Remember Panel Locations. • To display panels in their default locations on startup, deselect Remember Panel Locations. Tools Tools panel overview The first time you start the application, the Tools panel appears at the left side of the screen. You can move the Tools panel by dragging its title bar. You can also show or hide the Tools panel by choosing Window > Tools. You use tools in the Tools panel to create, select, and manipulate objects in Illustrator. Some tools have options that appear when you double-click a tool. These include tools that let you use type, and select, paint, draw, sample, edit, and move images.
18 USING ADOBE ILLUSTRATOR CS4 Workspace You can expand some tools to show hidden tools beneath them. A small triangle at the lower-right corner of the tool icon signals the presence of hidden tools. To see the name of a tool, position the pointer over it. View hidden tools ❖ Hold down the mouse button on the visible tool. View tool options ❖ Double-click a tool. Move the Tools panel ❖ Drag its title bar. Tools panel overview A B C D F E G H I A B C D E F G H I Indicates default tool * Keyboard shortcuts appear in parenthesis Selection tools Selection (V) Direct Selection (A) Group Selection Magic Wand (Y) Lasso (Q) Artboard (Shift +O) Drawing tools Pen (P) Add Anchor Point (Shift+) Delete Anchor (-) Point Convert Anchor Point (Shift+C) Line Segment () Arc Spiral Rectangular Grid Polar Grid Rectangle (M) Rounded Rectangle Ellipse (L) Polygon Star Flare Pencil (N) Smooth Path Eraser Type tools Type (T) Area Type Type On a Path Vertical Type Vertical Area Type Vertical Type On a Path Painting tools Paintbrush (B) Blob Brush (Shift+B) Mesh (U) Gradient (G) Eyedropper (I) Measure Live Paint Bucket (K) Live Paint Selection (Shift+L) Reshaping tools Rotate (R) Reflect (O) Scale (S) Shear Reshape Warp (Shift-R) Twirl Pucker Bloat Scallop Crystallize Wrinkle Free Transform (E) Blend (W) Symbol tools Symbol Sprayer (Shift+S) Symbol Shifter Symbol Scruncher Symbol Sizer Symbol Spinner Symbol Stainer Symbol Screener Symbol Styler Graph tools Column Graph (J) Stacked Column Graph Bar Graph Stacked Bar Graph Line Graph Area Graph Scatter Graph Pie Graph Radar Graph Slicing and cutting tools Slice (Shift+K) Slice Select Eraser (Shift+E) Scissors (C) Knife Moving and zooming tools Hand (H) Print Tiling Zoom (Z)
19 USING ADOBE ILLUSTRATOR CS4 Workspace Hide the Tools panel ❖ Choose Window > Tools. Tear off hidden tools into a separate panel ❖ Drag the pointer over the arrow at the end of the hidden tools panel and release the mouse button. Close a separate tool panel ❖ Click the close button on the panel’s title bar. The tools return to the Tools panel. Select a tool ❖ Do one of the following: • Click a tool in the Tools panel. If there is a small triangle at a tool’s lower-right corner, hold down the mouse button to view the hidden tools, and then click the tool you want to select. • Hold down Alt (Windows) or Option (Mac OS), and then click a tool to cycle through and select hidden tools. • Press the tool’s keyboard shortcut. The keyboard shortcut is displayed in its tool tip. For example, you can select the Move tool by pressing the V key. To hide tool tips, choose Edit > Preferences > General (Windows) or Illustrator > Preferences > General (Mac OS), and deselect Show Tool Tips. Selecting a hidden tool A. Tools panel B. Active tool C. Tear off panel with hidden tools D. Hidden tool triangle E. Tool name and shortcut Change tool pointers The mouse pointer for most tools matches the tool’s icon. Each pointer has a different hotspot, where an effect or action begins. With most tools, you can switch to precise cursors, which appear as cross hairs centered around the hotspot, and provide for greater accuracy when working with detailed artwork. ❖ Choose Edit > Preferences > General (Windows) or Illustrator > Preferences > General (Mac OS), and select Use Precise Cursors. Alternatively, press Caps Lock on the keyboard. A B D E C
20 USING ADOBE ILLUSTRATOR CS4 Workspace Tool galleries Illustrator provides many tools for creating and manipulating your artwork. These galleries provide a quick visual overview for each tool. Selection tool gallery Illustrator provides the following selection tools: See also “Keys for selecting” on page 464 Drawing tool gallery Illustrator provides the following drawing tools: The Selection tool (V) selects entire objects. The Direct Selection tool (A) selects points or path segments within objects. The Group Selection tool selects objects and groups within groups. The Magic Wand tool (Y) selects objects with similar attributes. The Lasso tool (Q) selects points or path segments within objects. The Artboard tool creates separate artboards for printing or export.
21 USING ADOBE ILLUSTRATOR CS4 Workspace The Pen tool (P) draws straight and curved lines to create objects. The Add Anchor Point tool (+) adds anchor points to paths. TheDeleteAnchorPointtool (-) deletes anchor points from paths. The Convert Anchor Point tool (Shift+C) changes smooth points to corner points and vice versa. The Line Segment tool () draws individual straight line segments. The Arc tool draws individualconcaveorconvex curve segments. The Spiral tool draws clockwise and counterclockwise spirals. The Rectangular Grid tool draws rectangular grids. The Polar Grid tool draws circular chart grids. The Rectangle tool (M) draws squares and rectangles. The Rounded Rectangle tool drawssquaresandrectangles with rounded corners. The Ellipse tool (L) draws circles and ovals. The Polygon tool draws regular, multi-sided shapes. The Star tool draws stars. The Flare tool creates lens- flare or solar-flare-like effects. The Pencil tool (N) draws and edits freehand lines.
22 USING ADOBE ILLUSTRATOR CS4 Workspace Type tool gallery Illustrator provides the following type tools: Painting tool gallery Illustrator provides the following painting tools: The Smooth tool smooths Bezier paths. The Path Eraser tool erases paths and anchor points from the object. The Type tool (T) creates individual type and type containers and lets you enter and edit type. The Area Type tool changes closed paths to type containers and lets you enter and edit type within them. The Type On A Path tool changes paths to type paths, and lets you enter and edit type on them. The Vertical Type tool creates vertical type and vertical type containers and lets you enter and edit vertical type. The Vertical Area Type tool changes closed paths to vertical type containers and lets you enter and edit type within them. The Vertical Type On A Path tool changes paths to vertical type paths and lets you enter and edit type on them.
23 USING ADOBE ILLUSTRATOR CS4 Workspace Reshaping tool gallery Illustrator provides the following tools for reshaping objects: The Paintbrush tool (B) draws freehand and calligraphic lines, as well as art and patterns on paths. The Mesh tool (U) creates and edits meshes and mesh envelopes. The Gradient tool (G) adjusts the beginning and ending points and angle of gradients within objects, or applies a gradient to objects. The Eyedropper tool (I) samples and applies color, type, and appearance attributes, including effects, from objects. The Live Paint Bucket tool (K) paints faces and edges of Live Paint groups with the current paint attributes. The Live Paint Selection (Shift-L)tool selects faces and edges within Live Paint groups. The Measure tool measures the distance between two points. The Blob Brush tool (Shift- B)draws paths that automatically expand and merge calligraphic brush paths that share the same color and are adjacent in stacking order. The Rotate tool (R) rotates objects around a fixed point. The Reflect tool (O) flips objects over a fixed axis. The Scale tool (S) resizes objects around a fixed point. The Shear tool skews objects around a fixed point.
24 USING ADOBE ILLUSTRATOR CS4 Workspace Symbolism tool gallery The symbolism tools let you create and modify sets of symbol instances. You create a symbol set using the Symbol Sprayer tool. You can then use the other symbolism tools to change the density, color, location, size, rotation, transparency, and style of the instances in the set. The Reshape tool adjusts selected anchor points while keeping the overall detail of the path intact. The Free Transform tool (E) scales, rotates, or skews a selection. The Blend tool (W) creates a series of objects blended between the color and shape of multiple objects. The Warp tool (Shift+R) molds objects with the movement of the cursor (like molding clay, for example). The Twirl tool creates swirling distortions within an object. The Pucker tool deflates an object by moving control points towards the cursor. The Bloat tool inflates an object by moving control points away from the cursor. The Scallop tool adds random curved details to the outline of an object. The Crystallize tool adds random spiked details to the outline of an object. The Wrinkle tool adds wrinkle-like details to the outline of an object.
25 USING ADOBE ILLUSTRATOR CS4 Workspace Graph tool gallery Illustrator provides nine graph tools, each one for creating a different type of graph. The type of graph you choose depends on the information you want to communicate. The Symbol Sprayer tool (Shift+S) places multiple symbol instances as a set on the artboard. The Symbol Shifter tool moves symbol instances The Symbol Scruncher tool moves symbol instances closer together or farther apart. The Symbol Sizer tool resizes symbol instances. The Symbol Spinner tool rotates symbol instances. The Symbol Stainer tool colorizes symbol instances. The Symbol Screener tool applies opacity to symbol instances. The Symbol Styler tool applies the selected style to symbol instances. The Column Graph tool (J) creates graphs that compare values using vertical columns. The Stacked Column Graph tool creates graphs that are similar to column graphs, but stacks the columns on top of one another, instead of side by side. This graph type is useful for showing the relationship of parts to the total. The Bar Graph tool creates graphs that are similar to column graphs, but positions the bars horizontally instead of vertically. The Stacked Bar Graph tool creates graphs that are similar to stacked column graphs, but stacks the bars horizontally instead of vertically. 0 10 20 30 40 50 60 70 80 B A 0 20 40 60 80 100 B A 0 1020304050607080 B A 0 20 40 60 80 100 B A
26 USING ADOBE ILLUSTRATOR CS4 Workspace Slicing and cutting tool gallery Illustrator provides the following tools for slicing and cutting objects: The Line Graph tool creates graphs that use points to represent one or more sets of values, with a different line joining the points in each set. This type of graph is often used to show the trend of one or more subjects over a period of time. The Area Graph tool creates graphs that are similar to line graphs, but emphasizes totals as well as changes in values. The Scatter Graph tool creates graphs that plot data points as paired sets of coordinatesalongthexandy axes. Scatter graphs are useful for identifying patterns or trends in data. They also can indicate whether variables affect one another. The Pie Graph tool creates circular graphs whose wedges represent the relative percentages of the values compared. The Radar Graph tool creates graphs that compare sets of values at given points in time or in particular categories, and is displayed in a circular format. This type of graph is also called a web graph. The Slice tool divides artwork into separate web images. The Slice Selection tool (Shift-K) selects web slices. The Eraser tool (Shift-E) erases any area of the object over which you drag. The Scissors tool (C) cuts paths at specified points. 20 30 40 50 60 70 80 50 40 30 20 10 0 20 40 60 80 100 10 20 30 40 50 0 10 20 30 40 50 D C B A 10 20 30 40 50
27 USING ADOBE ILLUSTRATOR CS4 Workspace Moving and zooming tool gallery Illustrator provides the following tools for moving around in and controlling the view of the artboard: Files and templates About new document profiles A document is the space in which you create artwork. In Illustrator, you can create documents destined for many different types of output. (For information on creating Illustrator documents for video production, see the Enhancing Video Production PDF at www.adobe.com/go/learn_ai_video. You start a new document by choosing a new document profile based on your intended output. Each profile includes preset values for size, color mode, units, orientation, transparency, and resolution. All use one artboard, by default. For example, the Video And Film Document profile uses pixels instead of points, and you can choose a device-specific crop area, such as NTSC DV Widescreen, to create a document in the exact dimensions required, with video-safe guides in place to help you lay out your design for optimal viewing. If you plan to output your file to a high-end printer, for example if you’re sending it to a service bureau, specify the Print profile to ensure your artwork and any effects applied to the artwork are set to the proper resolution. You can choose from the following profiles: Print Document Uses a default letter size artboard, and provides a variety of other preset print sizes to choose from. Use this profile if you plan to send this file to a service bureau for output to a high-end printer. The Knife tool cuts objects and paths. TheHandtool(H)movesthe Illustrator artboard within the illustration window. The Print Tiling tool adjusts the page grid to control where artwork appears on the printed page. The Zoom tool (Z) increases and decreases the view magnification in the illustration window.
28 USING ADOBE ILLUSTRATOR CS4 Workspace Web Document Provides preset options optimized for output to the web. Mobile And Devices Document Creates a small file size that is preset for a specific mobile device. You can choose your device from the Size menu. Click Device Central to open Adobe Device Central and view the document layout in a specified device interface. Video And Film Document Provides several preset video- and film-specific crop area sizes (note that the Artboard option changes to Crop Size for this profile). Illustrator creates only square pixel files, so to ensure that the sizes are interpreted correctly in video applications, Illustrator adjusts the Width and Height values. For example, if you choose NTSC DV Standard, Illustrator uses a pixel size of 654 x 480, which translates to 740 x 480 pixels in video-based applications. Basic CMYK Document Uses a default letter size artboard, and provides a variety of other sizes to choose from. Use this profile if you plan to send a document to multiple types of media. If one of the media types is a service bureau, you’ll want to manually increase the Raster Effects setting to High. Basic RGB Document Uses a default 800 x 600 size artboard, and provides a variety of other print-, video-, and web- specific sizes to choose from. Do not use this option if you plan to send a document to a service bureau or output to a high-end printer. Use this profile for documents that will be output to mid-level printers, to the web, or multiple types of media. For a video on setting up new documents, see www.adobe.com/go/vid0031. See also New document video Video production Create new documents You can create new Illustrator documents from a new document profile or from a template. Creating a document from a new document profile gives you a blank document with the selected profile’s default fill and stroke colors, graphic styles, brushes, symbols, actions, viewing preferences, and other settings. Creating a document from a template gives you a document with preset design elements and settings, as well as content, such as cropmarks and guides, for specific document types, such as brochures or CD covers. You create a new document from the Welcome screen, or by using File > New or File > Device Central (for mobile device output). The Welcome screen appears whenever a document is not currently open. For a video on setting up new documents, see www.adobe.com/go/vid0031. See also “About new document profiles” on page 27 “About templates” on page 30 “About transparency” on page 174 “Using Adobe Device Central with Illustrator” on page 370 Create a new document You can start a new document from the Welcome screen or from the File menu. 1 Do one of the following: • If Illustrator is already open, choose File > New and choose a New Document Profile in the New Document menu.
29 USING ADOBE ILLUSTRATOR CS4 Workspace • If the Welcome screen is open, click a document profile from the Create New list. • If Illustrator is not open, open it and click a document profile from the Create New list in the Welcome screen. Note: In the Welcome screen, you can Alt-click (Windows) or Option-click (Mac OS) to open the new document directly and skip the New Document dialog box. 2 Type a name for your document. 3 Specify the number of artboards for your document, and the order you’d like them laid out on screen: Grid By Row Arranges multiple artboards in the specified number of rows. Choose the number of rows from the Rows menu. The default value creates the most square appearance possible with the specified number of artboards. Grid By Column Arranges multiple artboards in the specified number of columns. Choose the number of columns from the Columns menu. The default value creates the most square appearance possible with the specified number of artboards. Arrange By Row Arranges artboards in one straight row. Arrange By Column Arranges artboards in one straight column. Change To Right-To-Left Layout Arranges multiple artboards in the specified row or column format, but displays them from right to left. 4 Specify the default spacing between artboards. This setting applies to both horizontal and vertical spacing. 5 Specify the default size, units of measure, and layout for all artboards. Note: Once your document opens, you can customize your artboards by moving and resizing them as desired. 6 Specify the position of the bleed along each side of the artboard. To use different values for different sides, click the Lock icon . 7 Click Advanced to specify the following additional options: Note: You can change these settings after you create the document by choosing File > Document Setup and specifying new settings. Color Mode Specifies the color mode for the new document. Changing the color mode converts the default contents (swatches, brushes, symbols, graphic styles) of the selected new document profile to a new color mode, resulting in a color change. Watch for a warning icon when making changes. Raster Effects Specifies the resolution for raster effects in the document. It is especially important to set this at High when you plan to output to a high-end printer at high resolution. The Print profile sets this at High by default. Transparency Grid Specifies the options for the transparency grid for documents that use the Video And Film profile. Preview Mode Sets the default preview mode for the document (you can change this at any time by using the View menu): • Default displays artwork created in the document in vector view with full color. Zoom in/out retains smoothness in the curves. • Pixel displays artwork with a rasterized (pixilated) appearance. It does not actually rasterize the content, but displays a simulated preview, as if the contents were rasters. • Overprint provides an “ink preview” that approximates how blending, transparency, and overprinting will appear in color-separated output. (See “About overprinting” on page 426.) Device Central If you’ve created a document using the Mobile and Devices profile, you can click Device Central to preview your new document in the mobile device interface.
30 USING ADOBE ILLUSTRATOR CS4 Workspace Create a new document from a template 1 Do one of the following: • Choose File > New From Template. • Choose File > New. In the New Document dialog box, click Templates. • In the Welcome screen, click From Template in the Create New list. 2 In the New From Template dialog box, locate and select a template, and click New. About templates Templates let you create new documents that share common settings and design elements. For example, if you need to design a series of business cards with a similar look and feel, you can create a template with the desired artboard size, view settings (such as guides), and print options. The template can also contain symbols for common design elements (such as logos) and specific sets of color swatches, brushes, and graphic styles. Illustrator comes with a variety of templates, including templates for letterhead, business cards, envelopes, brochures, labels, certificates, postcards, greeting cards, and websites. When a template is selected via the New From Template command, Illustrator creates a new document with identical content and document settings as the template, but leaves the original template file untouched. See also “Create new documents” on page 28 Create a new template 1 Open a new or existing document. 2 Customize the document in any of the following ways: • Set up the document window as you want it to appear in new documents you create from the template. This includes the magnification level, scroll position, ruler origin, guides, grids, crop areas, and options in the View menu. • Draw or import any artwork you want to appear in new documents you create from the template. • Delete any existing swatches, styles, brushes, or symbols, you don’t want to retain. • Create any new swatches, styles, brushes, and symbols, you want in the corresponding panels. You can also import preset swatches, styles, brushes, symbols, and actions from a variety of libraries that come with Illustrator. • Create any graph designs you want and add them to the Graph Design dialog box. You can also import preset graph designs. • Set the desired options in the Document Setup dialog box and Print Options dialog box. 3 Choose File > Save As Template. 4 In the Save As dialog box, select a location for the file, enter a filename, and click Save. Illustrator saves the file in AIT (Adobe Illustrator Template) format.
31 USING ADOBE ILLUSTRATOR CS4 Workspace Specify document setup options At any point you can change your document’s default setup options for units of measure, transparency grid display, background color, and type settings such as language, quote style, superscript and subscript size, and exportability. The Edit Artboards button closes this dialog box and activates the Artboard tool. Use this button if you want to modify your artboards. 1 Choose File > Document Setup or click the Document Setup button in the Control panel (this button is visible when nothing is selected). 2 Specify options as desired. Note: The Simulate Colored Paper option is useful if you plan to print the document on colored paper. For example, if you draw a blue object on a yellow background, the object appears green. The simulation is performed only when the transparency grid is not shown. For specific information on these options, see related topics. See also “Change the unit of measurement” on page 43 “View transparency in artwork” on page 174 “Specify curly or straight quotes” on page 312 “Creating superscripts or subscripts” on page 313 Open a file You can open files that were created in Illustrator as well as files that were created in other applications. • To open an existing file, choose File > Open. Locate the file, and click Open. • To open a recently saved file, choose the file from the Open A Recent Item list in the Welcome screen, or choose File > Open Recent Files, and choose a file from the list. • To open and preview a file using Adobe Bridge, choose File > Browse In Bridge to open Adobe Bridge. Locate the file and choose File > Open With > Adobe Illustrator CS4. See also “Adobe Version Cue” on page 32 “Importing Adobe PDF files” on page 260 “Importing EPS files” on page 261 “Importing artwork from Photoshop” on page 263 Browse for files using Adobe Bridge Adobe® Bridge is a cross-platform application included with Adobe® Creative Suite® 4 components that helps you locate, organize, and browse the assets you need to create print, web, video, and audio content. You can start Bridge from any Creative Suite component, and use it to access both Adobe and non-Adobe asset types. ❖ To open Adobe Bridge, do one of the following from within Illustrator: • Choose File > Browse In Bridge. • Click the Adobe Bridge icon in the Control panel.
32 USING ADOBE ILLUSTRATOR CS4 Workspace • Choose Reveal In Bridge from the status bar. From Adobe Bridge, you can do any of the following: • Manage image, footage, and audio files: Preview, search, sort, and process files in Bridge without opening individual applications. You can also edit metadata for files, and use Bridge to place files into your documents, projects, or compositions. • Manage your photos: Import and edit photos from your digital camera card, group related photos in stacks, and open or import Photoshop® Camera Raw files and edit their settings without starting Photoshop. • Work with Adobe Version Cue®-managed assets. • Perform automated tasks, such as batch commands. • Synchronize color settings across color-managed Creative Suite components. • Start a real-time web conference to share your desktop and review documents. See also “Adobe Version Cue” on page 32 Adobe Version Cue Adobe Version Cue® CS4 is an asset management system that lets designers work collaboratively on a set of common files without having to change their workflow significantly. Designers can easily track and manipulate multiple versions of files. Version Cue handles the following tasks: • Creating versions of your files • Enabling workgroup collaboration (file sharing, version control, the ability to check files in and out) • Organizing files into private or shared projects • Providing thumbnails so you can browse and view files • Organizing data so you can view and search on file information, version comments, and file status • Creating and managing user access, projects, and PDF reviews by way of Version Cue Server Administration Version Cue consists of two pieces: the Adobe Version Cue Server and Adobe Drive. Adobe Version Cue Server The Version Cue Server can be installed locally or on a dedicated computer. It hosts Version Cue projects and PDF reviews. Adobe Drive Adobe Drive connects to Version Cue CS4 servers. The connected server appears like a hard drive or mapped network drive in Windows Explorer, Mac OS Finder, and dialog boxes such as Open and Save As. Note: The “Use Adobe Dialog” option that appears in CS3 applications does not appear in CS4 applications. This option is no longer necessary. Connecting to the Version Cue Server using Adobe Drive lets you view project files from any application. Version Cue is included with Adobe Creative Suite 4 Design Premium and Standard, Adobe Creative Suite 4 Web Premium and Standard, Adobe Creative Suite 4 Production Premium, and Adobe Creative Suite 4 Master Collection. Version Cue enables versioning and asset management in all applications, but it includes enhanced features for the following products: Adobe Flash®, Adobe Illustrator®, Adobe InDesign®, Adobe InCopy®, Adobe Photoshop®, and Adobe Bridge. When you use any of these applications to open a file stored on a Version Cue server, the file is checked out automatically. For all other applications, use the context menu to check in and check out files manually.
33 USING ADOBE ILLUSTRATOR CS4 Workspace For a video on Version Cue, see www.adobe.com/go/lrvid4038_vc. For Version Cue Help, see www.adobe.com/go/learn_vc_versioncuehelp_cs4. See also Version Cue Help Version Cue video Manage connections to web services In Adobe® Creative Suite® 4, the Connections panel lets you manage connections to web services and the locally installed extensions that interact with them. The Connections panel itself is an extension. Additional extensions installed with Creative Suite applications include the following: Adobe ConnectNow Collaborate with dispersed working teams over the web, sharing voice, data, and multimedia. Kuler™ panel Quickly create, share, and explore color themes online. Search for Help In the upper-right corner of applications, enter search terms to access in-depth Help from Adobe, plus additional content from the design and production communities. Visit Adobe.com to learn about additional services and extensions. Log into Adobe web services Regardless of which application you use to access the Connections panel, logging in automatically connects you to services such as ConnectNow meetings. 1 In Adobe InDesign, Photoshop, Illustrator, Flash, Fireworks, or Dreamweaver, choose Window > Extensions > Connections. 2 Enter your Adobe ID and password. (If you lack an ID or can’t remember it, click the appropriate link.) 3 (Optional) To remain logged in when you restart the computer, select Remember Me On This Computer. 4 Click Log In. Disable automatic extension updates By default, the Connections panel automatically updates installed extensions. However, you can disable automatic updates and instead check for them manually. 1 From the Connections panel menu , select Update Preferences. 2 Deselect Check For Updates Automatically. 3 Restart any open Adobe Creative Suite applications. Manually check for updated extensions ❖ From the Connections panel menu , select Check For Updates. Disable web services If your work environment disallows online connections, disable web services. 1 From the Connections panel menu , select Offline Options. 2 Select Keep Me Offline.
34 USING ADOBE ILLUSTRATOR CS4 Workspace 3 Restart any open Adobe Creative Suite applications. To disable the Connections panel and web services only in Photoshop, deselect Allow Extensions To Connect in the Plug-Ins section of the Preferences dialog box. Working with ConnectNow Working with ConnectNow Adobe® ConnectNow provides you with a secure, personal online meeting room where you can meet and collaborate with others via the web in real time. With ConnectNow, you can share and annotate your computer screen, send chat messages, and communicate using integrated audio. You can also broadcast live video, share files, capture meeting notes, and control an attendee's computer. You can access ConnectNow directly from the application interface. 1 Choose File > Share My Screen. 2 In the Share My Screen dialog box, enter your Adobe ID and password, and click Sign In. If you don’t have an Adobe ID and password, click the Create a Free Adobe ID link at the top of the dialog box. 3 To share your screen, click the Share My Computer Screen button at the center of the ConnectNow application window. For complete instructions on using ConnectNow, see http://help.adobe.com/en_US/Acrobat.com/ConnectNow/index.html. Using multiple artboards Artboard overview Artboards represent the regions that can contain printable artwork. You can use artboards as crop areas for printing or placement purposes—they work the same way as crop areas work in Illustrator CS3. Multiple artboards are useful for creating a variety of things such as multiple page PDFs, printed pages with different sizes or different elements, independent elements for websites, video storyboards, or individual items for animation in Adobe Flash or After Effects. Note: If you created crop areas in a Illustrator CS3 document, the crop areas will be converted to artboards in CS4. You may be prompted to specify how you want the crop areas to convert. You can have 1 to 100 artboards per document depending on size. You can specify the number of artboards for a document when you first create it, and you can add and remove artboards at any time while working in a document. You can create artboards in different sizes, resize them by using the Artboard tool , and position them anywhere on the screen—even overlapping one another. To see a video on using multiple artboards, see www.adobe.com/go/lrvid4016_ai. Viewing artboards and the canvas You can view the page boundaries in relation to an artboard by showing print tiling (View > Show Print Tiling). When print tiling is on, the printable and nonprintable areas are represented by a series of solid and dotted lines between the outermost edge of the window and the printable area of the page.
35 USING ADOBE ILLUSTRATOR CS4 Workspace Each artboard is bounded by solid lines and represents the maximum printable area. To hide the artboard boundaries, choose View > Hide Artboards. The canvas is the area outside the artboard that extends to the edge of the 220 inch square window. The canvas represents a space on which you can create, edit, and store elements of artwork before moving them onto an artboard. Objects placed onto the canvas are visible on-screen, but they do not print. To center an artboard and zoom it to fit the screen, click the artboard number in the status bar, located at the bottom of the application window. Illustration window A. Printable area (determined by the specified printer) B. Canvas C. Artboard Printing and exporting artboards All artboards in a document share the same media type format, such as Print. You can print each artboard individually, tiled, or combined into one page. If you save a multiple-artboard Illustrator document to a previous version of Illustrator, such as CS3, you can choose to save each artboard as a separate file, along with a master file that includes all artboards merged. You can preview artboards from the print dialog before printing them. The print settings you choose are applied to all of the artboards you selected to print. By default all artwork is cropped to an artboard and all artboards print as individual pages. Use the Range option in the Print dialog box to print specific pages, select Ignore Artboards and specify placement options to combine all art onto a single page or tile the artwork as desired. See also “Change the page size and orientation” on page 405 “Reposition artwork on the page” on page 403 “Tile artwork on multiple pages” on page 404 Artboard options You open the Artboard Options dialog box by double-clicking the Artboard tool , or clicking the Artboard tool and then clicking Artboard Options button in the Control panel. Preset Specifies artboard dimensions. These presets set the ruler Pixel Aspect Ratio appropriately for the specified output. A B C
36 USING ADOBE ILLUSTRATOR CS4 Workspace Width and Height Specifies the size of the artboard. Orientation Specifies portrait or landscape page orientation. Constrain Proportions Keeps the aspect ratio of the artboard intact if you manually resize it. X: and Y: Position Specifies the position of the artboard according to Illustrator’s workspace rulers. To view these rulers, choose View > Show Rulers. Show Center Mark Displays a point in the center of the artboard. Show Cross Hairs Displays cross lines through the center of each side of the artboard. Show Video Safe Areas Displays guides that represent the areas that fall inside the viewable area of video. You want to keep all text and art that must be viewable to users inside the video safe areas. Ruler Pixel Aspect Ratio Specifies the pixel aspect ratio used for the artboard rulers. Fade Region Outside Artboard Displays the area outside of the artboard a darker shade than the area inside the artboard when the Artboard tool is active. Update While Dragging Keeps the area outside of the artboard darker as you drag to resize the artboard. If this is not selected, the outside area displays in the same color as inside the artboard while resizing. Artboards Indicates how many artboards exist. Create an artboard 1 Do any of the following: • To create a custom artboard, select the Artboard tool , and drag in the workspace to define the shape, size, and location. • To use a preset artboard, double-click the Artboard tool, select a preset in the Artboard Options dialog box, and click OK. Drag the artboard to position it where you want. • To create an artboard within an active artboard, hold down Shift and drag using the Artboard tool. • To duplicate an existing artboard, select the Artboard tool, click to select the artboard you want to duplicate, and click the New Artboard button in the Control panel ; then click where you want to place the duplicated artboard. To create multiple duplicates, Alt-click as many times as you want. Or, using the Artboard tool, Alt-drag (Windows) or Option-drag (Mac OS) the artboard you want to duplicate. • To duplicate an artboard with the contents, select the Artboard tool, click to select the Move/Copy Artwork With Artboard icon on the Control panel , press Alt (Windows) or Option (Mac OS), and then drag. If you want the artwork to contain a bleed, make sure that there’s enough artwork beyond the artboard rectangle to accommodate the bleed. 2 To commit the artboard and exit the artboard-editing mode, click a different tool in the Tools panel or click Esc. To see a video on using multiple artboards, see www.adobe.com/go/lrvid4016_ai.
37 USING ADOBE ILLUSTRATOR CS4 Workspace Edit or delete artboards You can create multiple artboards for your document, but only one can be active at a time. When you have multiple artboards defined, you can view them all by selecting the Artboard tool. Each artboard is numbered for easy reference. You can edit or delete an artboard at any time, and you can specify different artboards each time you print or export. ❖ Select the Artboard tool , and then do any of the following: • To set an artboard as the active artboard, click it. (Clicking in or drawing over an artboard using a different tool will also make the artboard tool active.) If artboards overlap, the artboard with the left edge closest to the click location becomes the active artboard. • To resize an artboard, position the pointer on an edge or corner until the cursor changes to a double-sided arrow, and then drag to adjust. Or, specify new Width and Height values in the Control panel. • To move an artboard and its contents, click to select the Move/Copy Artwork With Artboard icon on the Control panel , and then position the pointer in the artboard and drag. Or, specify new X and Y values in the Control panel. • To move an artboard without its contents, click to deselect the Move/Copy Artwork With Artboard icon on the Control panel, and then position the pointer in the artboard and drag. Or, specify new X and Y values in the Control panel. • To delete an artboard, click the artboard and press Delete, click Delete in the Control panel, or click the Delete icon in an artboard’s upper-right corner. You can delete all but the last remaining artboard. • To rotate between artboards, press Alt (Windows) or Option (Mac OS) and click an arrow key. • To view artboards and their contents as outlines, right-click and choose Outline. To see artwork again, right-click and choose Preview. Display artboard rulers, center mark, crosshairs, or safe area You can choose to display a center mark, cross hairs, video safe markers, and rulers around an artboard. Rulers are useful when you’re working with art intended for export to video. The numbers on the rulers reflect device-specific pixels, regardless of the measurement unit specified in preferences. The default Pixel Aspect Ratio (PAR) for Illustrator is 1.0 (for square pixels)—this value changes according to the preset you choose either in the Artboard Options dialog box or the New Document dialog box. If you’re using nonsquare pixels, the ruler provides for easier device-specific pixel calculations. For example, if you specify an artboard of 100 x100 Illustrator points, and you want to know the exact size in device-dependent pixels before exporting the file for use in a NTSC DV Widescreen, you can set the artboard ruler in Illustrator to use a pixel aspect ratio of 1.2 (for wide pixels) and the ruler will reflect the change and display the artboard as 83 x100 device pixels (100/1.2 = 83.333).
38 USING ADOBE ILLUSTRATOR CS4 Workspace Artboard with rulers Show or hide artboard rulers 1 Choose View > Show Artboard Rulers or Hide Artboard Rulers. 2 (Optional) Set a value for Ruler Pixel Aspect Ratio in the Artboard Options dialog box. (To open this dialog box, double-click the Artboard tool.) Display center mark, cross hairs, or video safe areas 1 Double-click the Artboard tool in the Tools panel, or, with the Artboard tool active, click the Artboard Options icon in the Control panel. 2 In the Display section, select the options you’d like displayed in your artboards. Note: You can also set or remove the center point by clicking the Show Center Mark icon in the Control panel. Viewing artwork Specify Document Setup options At any point you can change your document’s default setup options for units of measure, transparency grid display, background color, and type settings such as language, quote style, superscript and subscript size, bleeds, and exportability. The Edit Artboards button closes this dialog box and activates the Artboard tool. 1 Choose File > Document Setup, or click the Document Setup button in the Control panel. (This button is available when nothing is selected.) 2 Specify options as desired. 3 If you want to edit artboards, click Edit Artboards to enter artboard editing mode. The Simulate Colored Paper option is useful if you plan to print the document on colored paper. For example, if you draw a blue object on a yellow background, the object appears green. The simulation is only performed when the transparency grid is not shown. See also “Change the unit of measurement” on page 43 “View transparency in artwork” on page 174
39 USING ADOBE ILLUSTRATOR CS4 Workspace “Specify curly or straight quotes” on page 312 “Creating superscripts or subscripts” on page 313 About print tiling By default, Illustrator prints each artboard on a single sheet of paper. However, if the artwork is larger than the page sizes available on your printer, you can print onto multiple sheets of paper. Dividing an artboard to fit a printer’s available page sizes is called tiling. You can choose a tiling option in the General section of the Print dialog box. To view the print tiling boundaries on the artboard, choose View > Show Print Tiling. Artboard divided into multiple page tiles When you divide the artboard into multiple tiles, the pages are numbered from left to right and from top to bottom, starting with page 1. These page numbers appear on-screen for your reference only; they do not print. The numbers enable you to print all of the pages in the file or specify particular pages to print. See also “Change the page size and orientation” on page 405 “Tile artwork on multiple pages” on page 404 Zoom in or out There are several ways to zoom in or out of artwork. • Select the Zoom tool . The pointer becomes a magnifying glass with a plus sign in its center. Click in the center of the area that you want to magnify, or hold down Alt (Windows) or Option (Mac OS) and click in the center of the area that you want to reduce. Each click magnifies or reduces the view to the previous preset percentage. • Select the Zoom tool and drag a dotted rectangle, called a marquee, around the area you want to magnify. To move the marquee around the artwork, hold down the spacebar, and continue dragging to move the marquee to a new location. • Choose View > Zoom In or View > Zoom Out. Each click magnifies or reduces the view to the next preset percentage. • Set the zoom level at the lower-left corner of the main window or in the Navigator panel. • To display a file at 100%, choose View > Actual Size, or double-click the Zoom tool. • To fill the window with the selected artboard, choose View > Fit Artboard In Window, or double-click the Hand tool.
40 USING ADOBE ILLUSTRATOR CS4 Workspace • To view everything in the window, choose View > Fit All In Window. See also “Moving and zooming tool gallery” on page 27 “Keys for viewing artwork” on page 462 Change the view area You can bring a different area of the artboard into view by doing any of the following: • Choose View > Actual Size to see all of your artboards in actual size. • Choose View > Fit All In Window to zoom out so that all artboards are visible in on the screen. • Choose View > Fit Artboard In Window to zoom in on the active artboard. • In the Navigator panel, click the area of the thumbnail display that you want to view in the illustration window. Alternatively, drag the proxy view area (the colored box) to a different area of the thumbnail display. • Select the Hand tool , and drag in the direction you want the artwork to move. To specify the quality of the display when using the Hand tool, choose Edit > Preferences > Units & Display Performance (Windows) or Illustrator > Preferences > Units & Display Performance (Mac OS). Drag the Hand Tool slider left to improve the quality of the view when you move it with the Hand tool, or right to improve the speed at which you can move the view with the Hand tool. See also “Moving and zooming tool gallery” on page 27 “Keys for viewing artwork” on page 462 Navigator panel overview You use the Navigator panel (Window > Navigator) to quickly change the view of your artwork using a thumbnail display. The colored box in the Navigator (called the proxy view area) corresponds to the currently viewable area in the illustration window. Navigator panel A. Thumbnail display of artwork B. Panel menu button C. Zoom box D. Zoom Out button E. Proxy preview area F. Zoom slider G. Zoom In button You can customize the Navigator panel in the following ways: • To display artwork outside the boundaries of the artboard in the Navigator panel, click View Artboard Contents Only from the panel menu to deselect it. A C D E F G B
41 USING ADOBE ILLUSTRATOR CS4 Workspace • To change the color of the proxy view area, select panel Options from the panel menu. Select a preset color from the Color menu, or double-click the color box to choose a custom color. • To display dashed lines in the document as solid lines in the Navigator panel, select panel Options from the panel menu and select Draw Dashed Lines As Solid Lines. See also “Manage windows and panels” on page 12 View artwork as outlines By default, Adobe Illustrator sets the view so that all artwork is previewed in color. However, you can choose to display artwork so that only its outlines (or paths) are visible. Viewing artwork without paint attributes speeds up the time it takes to redraw the screen when working with complex artwork. In Outline mode, linked files are displayed by default as outlined boxes with an X inside. To view the contents of linked files, choose File > Document Setup, and select Show Images In Outline Mode. • To view all artwork as outlines, choose View > Outline. Choose View > Preview to return to previewing artwork in color. • To view all artwork in a layer as outlines, Ctrl-click (Windows) or Command-click (Mac OS) the eye icon for the layer in the Layers panel. Ctrl-click (Windows) or Command-click (Mac OS) again to return to previewing artwork in color. The eye icon has a hollow center when Outline view is enabled and a filled center when Preview view is enabled. • To view all items in unselected layers as outlines, Alt+Ctrl-click (Windows) or Option+Command-click (Mac OS) the eye icon for the selected layer. Alternatively, select Outline Others from the Layers panel menu. You can return all items in the Layers panel to Preview mode by choosing Preview All Layers from the Layers panel menu. See also “Layers panel overview” on page 212 Use multiple windows and views You can open multiple windows of a single document at the same time. Each window can have different view settings. For example, you can set one window highly magnified for doing close-up work on some objects and create another window less magnified for laying out those objects on the page. (Windows) You can arrange multiple open windows to suit your needs, using options from the Window menu. Cascade displays windows stacked and descending from the upper-left to the lower-right of the screen; Tile displays windows edge to edge; Arrange Icons organizes minimized windows within the program window. An alternative to creating multiple windows is creating multiple views. You can create and store up to 25 views for each document. Multiple windows and multiple views differ in the following ways: • Multiple views are saved with the document, multiple windows are not. • Multiple windows can be viewed at the same time. • Multiple views can appear at the same time only if multiple windows are opened to display them in. Changing a view alters the current windows, it does not open a new one.
42 USING ADOBE ILLUSTRATOR CS4 Workspace Create a new window ❖ Choose Window > New Window. Create a new view ❖ Set up the view as you want, and then choose View > New View, enter a name for the new view, and click OK. Rename or delete a view ❖ Choose View > Edit Views. Switch between views ❖ Select a view name from the bottom of the View menu. Previewing artwork in its final output medium Illustrator provides the following ways to preview how aspects of artwork will look when printed or viewed on the web or a mobile device: Overprint Preview mode (View > Overprint Preview) Provides an “ink preview” that approximates how blending, transparency, and overprinting will appear in color-separated output. Separations Preview mode (Window > Separations Preview) Provides a preview of how the separations will look when printed. Pixel Preview mode (View > Pixel Preview) Approximates how your artwork will appear when it is rasterized and viewed in a web browser. Flattener Preview panel (Window > Flattener Preview) Highlights areas of the artwork that meet certain criteria for flattening when saved or printed. Soft-proofs Approximate how your document’s colors will appear on a particular type of monitor or output device. Anti-aliasing Gives vector objects a smoother on-screen appearance and provides a better idea of how vector artwork will look when printed on a PostScript® printer. Anti-aliasing is helpful because screen resolution is relatively limited, but vector artwork is often printed at a high resolution. To turn on anti-aliasing, choose Edit > Preferences > General (Windows) or Illustrator > Preferences > General (Mac OS), select Anti-aliased Artwork, and click OK. Device Central (File > Device Central) Lets you preview how your document will appear on a particular mobile phone or device. See also “About overprinting” on page 426 “About pixel preview mode” on page 369 “Soft-proof colors” on page 136 “Save For Web & Devices overview” on page 382 “Using Adobe Device Central with Illustrator” on page 370 “Preview which areas of artwork will be flattened” on page 422
43 USING ADOBE ILLUSTRATOR CS4 Workspace Rulers, grids, guides, and crop marks Use rulers Rulers help you accurately place and measure objects in the illustration window or in an artboard. The point where 0 appears on each ruler is called the ruler origin. Document rulers appear at the top and left sides of the illustration window. The default ruler origin is located at the lower-left corner of the illustration window. Artboard rulers appear at the top and left sides of the active artboard. The default artboard ruler origin is located at the lower-left corner of the artboard. • To show or hide rulers, choose View > Show Rulers or View > Hide Rulers. • To show or hide artboard rulers, choose View > Show Artboard Rulers or View > Hide Artboard Rulers. • To change the ruler origin, move the pointer to the upper-left corner where the rulers intersect, and drag the pointer to where you want the new ruler origin. As you drag, a cross hair in the window and in the rulers indicates the changing ruler origin. Note: Changing the ruler origin affects the tiling of patterns. • To restore the default ruler origin, double-click the upper-left corner where the rulers intersect. Change the unit of measurement The default unit of measurement in Illustrator is points (a point equals .3528 millimeter). You can change the unit that Illustrator uses for general measurements, strokes, and type. You can override the default unit while entering values in boxes. • To change the default unit of measurement, choose Edit > Preferences > Units & Display Performance (Windows) or Illustrator > Preferences > Units & Display Performance (Mac OS), and then select units for the General, Stroke, and Type options. If Show Asian Options is selected in the Type preferences, you can also select a unit specifically for Asian type. Note: The “General” measurement option affects rulers, measuring the distance between points, moving and transforming objects, setting grid and guides spacing, and creating shapes. • To set the general unit of measurement for the current document only, choose File > Document Setup, choose the unit of measure you want to use from the Units menu, and click OK. • To change the unit of measurement when entering a value in a box, follow the value by any of the following abbreviations: inch, inches, in, millimeters, millimetres, mm, Qs (one Q equals 0.25 millimeter), centimeters, centimetres, cm, points, p, pt, picas, pc, pixel, pixels, and px. When mixing picas and points, you can enter values as XpY, where X and Y are the number of picas and points (for example, 12p6 for 12 picas, 6 points). Use the grid The grid appears behind your artwork in the illustration window, and it does not print. • To use the grid, choose View > Show Grid. • To hide the grid, choose View > Hide Grid.
Random documents with unrelated content Scribd suggests to you:
Ah, but if I must, then I shall endeavor to teach you a higher regard for us." "That may not prove so hard a task," I hastened to assure her; "though I was surprised,—you speak English with so pure an accent that I had not dreamed you other than of my own race." "My father was of English blood," she answered more gravely; "but I fear you will find me quite of my mother's people, if ever we come to know each other well. But hark! that was surely thunder! We have loitered too long; the storm is about to break." It was indeed upon us almost before she ceased speaking. A sudden rush of wind sent my hat flying into the darkness, and whipped her long black hair loose from its restraining knot. I had barely time to wrap my hunting-jacket closely around her shoulders, when the rain came dashing against our faces. I drew her unresistingly around the edge of the nearest sand- pile; but this supplied poor protection against the storm, the wind lashing the fine grit into our faces, stinging us like bits of fire. I tried to excavate some sort of cave that might afford us at least a partial shelter; but the sand slid down almost as rapidly as I could dig it out with my hands. "Oh, let us press on!" she urged, laying her hand upon my arm in entreaty. "We shall become no wetter moving, and your camp, you said, was only a short distance away." "But are you strong enough to walk?" And as I leaned forward toward her, a quick flash of vivid lightning, directly overhead, lit both our faces. I marked she did not shrink, and no look of fear came into her eyes. "I am quite myself once more," she answered confidently. "It was despair and loneliness that so disheartened me. I have never been timid physically, and your presence has brought back the courage I needed."
There was a natural frankness, a peculiar confidence, about this girl, that robbed me of my usual diffidence; and as we struggled forward through the dampening sand, her dress clinging about her and retarding progress, I dared to slip one arm about her waist to help in bearing her along. She accepted this timely aid in the spirit with which it was offered, without so much as a word of protest; and the wind, battering at our backs, pushed us forward. "Oh, that troublesome hair!" she exclaimed, as the long tresses whipped in front of our faces, blinding us both. "I have never before felt so much like sacrificing it." "I beg that you will not consider such an act now," I protested, aiding her to reclaim the truants, "for as I saw it before the darkness fell, your hair was surely worthy of preservation." "You laugh at me; I know I must have been a far from pretty sight." "Do you wish me to say with frankness what I thought of your appearance under such disadvantages?" She glanced at me almost archly, in the flash of lightning that rent the sky. "I am really afraid to answer yes,—yet perhaps I am brave enough to venture it." "I have never been at court, Mademoiselle, and so you may not consider my judgment in such matters of much moment; but I thought you rarely beautiful." For a moment she did not attempt to speak, but I could distinctly feel the heaving of her bosom as I held her hard against the assault of the wind, and bent low hoping to catch an answer. "You are sincere and honest," she said at last, slowly, and I felt that the faint trace of mockery had utterly vanished from her soft voice. "'Tis manifest in your face and words. You speak not lightly,
nor with mere empty compliment, as would some gilded courtiers I have known; and for that reason I do value your opinion." "You are not angry at my presumption?" "Angry?—I?" and she stopped and faced me, holding back her hair as she did so. "I am a woman, Monsieur; and all women, even those of us hidden here in the wilderness, like best those who admire them. I do not know that I am as beautiful as you say, yet other men have often said the same without being pressed for their opinion. No, I am not angry,—I am even glad to know you think so." "And you surely do know?" I insisted, with a courage strange to me. "Yes," she answered, but her eyes fell before my eagerness; "you are not one who has yet learned to lie, even to women. 'Tis a relief to know there are such men still in the world." We had come to a full halt by this time. "Do you have any idea where we may be?" she asked, peering anxiously about, and perhaps glad to change the tone of our conversation. "I cannot note a landmark of any kind. These sand- hills seem all alike." "I believe we have kept to the southward, for we have merely drifted with the storm; but I confess my sole guidance has been the direction of the wind, as these sand-lanes are most confusing. If there were the slightest shelter at hand, I should insist upon your waiting until the rain was over." "No, it is better to go on. I am now wet to the skin, and shall be warmer moving than resting on this damp sand." We must have been moving for an hour, scarcely speaking a word, for the severe exertion required all our breath. The rain had ceased, and stars began to glimmer amid the cloud-rifts overhead;
but I knew now that we were lost. She stopped suddenly, and sank down upon the sand. "I am exhausted," she admitted, "and believe we are merely moving about in a circle." "Yes," I said, reluctantly; "we are wasting our strength to no purpose. 'T will be better to wait for daylight here." It was a gloomy place, and the silence of those vast expanses of desolate sand was overwhelming. It oppressed me strangely. "Let me feel the touch of your hand," she said once. "It is so desperately lonely. I have been on the wide prairie, at night and alone; yet there is always some sound there upon which the mind may rest. Here the stillness is like a weight." Possibly I felt this depressing influence the more because of my long forest training, where at least the moaning of limbs, fluttering of leaves, or flitting of birds brings relief to the expectant senses; while here all was absolute solitude, so profound that our breathing itself was startling. The air above appeared empty and void; the earth beneath, lifeless and dead. Although neither of us was cowardly of heart, yet we instinctively drew closer together, and our eyes strained anxiously over the black sand-ridges, now barely discernible through the dense gloom. We tried to talk, but even that soon grew to be a struggle, so heavily did the suspense rest upon our spirits, so oppressed were we by imaginings of evil. I remember telling her my simple story, gaining in return brief glimpses of her experiences in Canada and the farther West. She even informed me that orders had been received, the day before she became lost upon the lake, to abandon Fort Dearborn; that an Indian runner—whom she named Winnemeg had arrived from General Hull at Detroit, bringing also news that Mackinac had fallen. "Doubtless your absence has greatly worried them also," I said.
"Oh, no; none of them knew my plight. Possibly some may miss me, but they will naturally suppose I have been at Mr. Kinzie's house all this time. I have been there often for weeks together, and they have frequently urged me to take shelter with them. You see it is far safer there than at the Fort, for even the most hostile Indians remain on friendly terms with Mr. Kinzie and his family. He has been there so many years, and is so just a man in his dealings with them. 'Tis really strange to see how he leaves his house unguarded, while the garrison at the Fort is almost in a state of siege. It makes it hard to realize how imminent is the danger. Yet they are terribly alarmed at the Fort, and I fear with cause. Even Mr. Kinzie feels the situation to be critical. There were fully three hundred Pottawattomie warriors encamped without the Fort two days ago; and they were becoming bold and impudent,—one chief even firing his gun in Captain Heald's office, thinking to frighten him into furnishing them with liquor." "But the Fort is strong?" I asked. "It is capable of resisting an attack?" "I should suppose so," she answered, hesitatingly; "but that is not a matter upon which a girl may judge. I fear, however, all is not harmony among its defenders. I know that Captain Heald and Ensign Ronan do not agree, and I have heard bitter words spoken by other officers of the garrison." I thought she did not care to speak more about this matter, and we drifted off upon other topics, until I felt her head sink slowly down upon my shoulder, and knew she slept. I sat there still, pillowing her tenderly upon my arm, when the gray light of the dawn stole slowly toward us across the ridges of sand and revealed the upturned face.
CHAPTER VIII TWO MEN AND A MAID HE emotion I felt was new and strange to me; for though I had known little of young women, yet as I looked upon her in that dim light of dawn I found myself wondering if I already loved this strange girl. Fair as her face certainly was, its beauty rendered even more striking by the pallor of her late exposure and the blackness of her dishevelled hair, it was her frankness and confidence which most appealed to me. She had held all my thoughts through the long hours of watchfulness as I sat there quietly, feeling the rise and fall of her regular breathing, and thrilled by the unconscious caress of stray tresses as they were blown against my cheek. How she trusted me, stranger though I was! Yet it was through no lack of knowledge of the great world of men, for this young girl had known court gallants and rough soldiery, soft-spoken courtiers and boastful men-at-arms. So the night through I dreamed of what might be; and when the light finally came slowly reddening the eastern sky, I feasted my eyes unchecked upon that sweet upturned face, and made a rash vow that I would win her heart. I was still mirroring her image in my memory, forgetful of all else, —the broad white brow, the long dark lashes resting in such delicate tracery against the smooth velvet of the cheek now slightly flushed, the witching pink of the ear, the softly parted lips between which gleamed the small and regular teeth of ivory, the round white throat swelling ever so slightly to her breathing, when a sudden shout of surprised recognition aroused me from my reverie, and I looked up
to see Jordan topping the sand-bank in our front, and waving his hand to some one beneath him and out of sight. "See here, De Croix!" he cried, excitedly, "the prodigal has had good cause to lag behind. He has found the lost fairy of this wilderness." Before I could relieve myself of my burden,—for the mockery of his words angered me,—the French man appeared at his side, and glanced down where his companion's finger pointed. For a moment he gazed; then he murmured a sharp French oath, and strode heavily down the sand-bank. There was a look in his face that caused me to lay the girl's head back upon the sand and rise hastily. The sudden movement awoke her, and her dark eyes looked up in startled confusion. By this time I had taken a quick step forward, and faced De Croix. "This lady is under my protection," I said, a bit hotly, not relishing the manner of his approach, "and any disrespect from either of you will be unwarranted." He paused, evidently surprised at my bold front, and his lip curled contemptuously. "Ah, my young game-cock!" he ejaculated, surveying me curiously. "So you have spurs, and think you can use them? Well, I have no quarrel with you, but perchance I may have more reason to be the protector of this young lady than you suppose. Stand aside, Monsieur." She had risen from the sand, and now stood erect beside me. I saw Jordan grinning in great enjoyment of the scene, and that De Croix's eyes were full of anger; but I would not stir. In my heart I felt a dull pain at his words, a fear that they might prove too true; but I remained where I was, determined to take no step aside until she herself should judge between us.
"Will you stand back, Monsieur?" he said, haughtily, dropping his hand upon the hilt of his rapier, "or shall I show you how a gentleman of France deals with such impertinence?" If he thought to affright me with his bravado, he reckoned ill of my nature, for I have ever driven badly; my blood seems slow to heat, though it was warm enough now. "If the lady wishes it, you may pass," I answered shortly, my eyes never leaving his face. "Otherwise, if you take so much as another step I will crush every bone in your body." He saw I meant it, but there was no cowardice in him; and the steel had already flashed in the sunlight to make good his threat, when she touched me gently upon the shoulder. "I beg you do not fight," she urged. "I am not worthy, and 'tis all unneeded. Captain de Croix," and she swept him a curtsey which had the grace of a drawing-room in it, "'tis indeed most strange that we should meet again in such a spot as this. No contrast could be greater than the memory of our last parting. Yet is there any cause for quarrel because this young gentleman has preserved my life?" De Croix hesitated, standing half-poised for attack, even his glib tongue and ready wit failing as she thus calmly questioned him. Indeed, as I later learned, there was that of witchery about this young girl which held him at bay more effectually than if she had been a princess of the royal blood,—a something that laughed his studied art to scorn. She noted now his hesitancy, and smiled slightly at the evidence of her power. "Well, Monsieur, 'tis not often that your lips fail of words," she continued, archly. "Why is it I am made the subject of your quarrel?" The slight sarcastic sting in her voice aroused him. "By all the saints, Toinette!" he exclaimed, striving to appear at his ease, "this seems a poor greeting for one who has followed you through leagues of forest and across oceans of sand, hopeful at the
least to gain a smile of welcome from your lips. Know you not I am here, at the very end of the world, for you?" "I think it not altogether unlikely," she replied with calmness. "You have ever been of a nature to do strange things, yet it has always been of your own sweet will. Surely, Monsieur, I did never bid you come, or promise you a greeting." "No," he admitted regretfully, "'tis, alas, true"; and his eyes seemed to regain something of their old audacity. "But there was that about our parting,—you recall it, Toinette, in the shadow of the castle wall?—which did afford me hope. No one so fair as you can be without heart." She laughed softly, as though his words recalled memories of other days, pressing back her hair within its ribbon. "Such art of compliment seems more in place at Montreal than here. This is a land of deeds, not words, Monsieur. Yet, even though I confess your conclusion partially true, what cause does it yield why you should seek a quarrel with my good friend, John Wayland?" "You know him, then?" he asked, in quick astonishment. "Know him! Do you think I should be here otherwise? Fie, Captain de Croix, that you, the very flower of the French court, should express so poor a thought of one you profess to respect so highly!" He looked from one to the other of us, scarce knowing whether she were laughing at him or not. "Sacre!" he exclaimed at last. "I believe it not, Mademoiselle. The boy would have boasted of such an acquaintance long before this. You know him, you say, for how long?" "Since yester even, if you must know. But he has a face, Monsieur, a face frank and honest, not like that of a man long
trained at courts to deceive. 'Tis for that I trust him, and have called him friend." "You may rue the day." "No, Captain de Croix," she exclaimed, proudly. "I know the frontiersmen of my father's blood. They are brave men, and true of heart. This John Wayland is of that race." And she rested one hand lightly upon my arm. The motion, simple as it was, angered him. "You ask why I sought quarrel," he said sternly. "'Twas because I suspected this uncouth hunter had wronged you. Now I understand 'twas of your own choice. I wish you joy, Mademoiselle, of your new conquest." I felt the girl's slight form straighten, and saw his bold eyes sink beneath the flame of her look. "Captain de Croix," and every sentence stung like the lash of a whip, "those are cowardly words, unworthy a French gentleman and soldier. Did you leave all your courtesy behind in Montreal, or dream that in this wilderness I should cringe to any words you might speak? You wish the truth; you shall have it. Three days ago, through an accident, I drifted, in an oarless boat, out from the river- mouth at Fort Dearborn to the open lake. None knew of my predicament. A storm blew me helpless to the southward, and after hours of exposure to danger, and great mental anguish, I was driven ashore amid the desolation of this sand. This comrade of yours found me scarce alive, ministered to my sore need, protected me through the hours of the night, stood but now between me and your ribaldry, counting his life but little beside the reputation of a woman. He may not wear the latest Paris fashions, Monsieur, but he has proved himself a man." "I meant not all I said, Toinette," he hastened to explain. "You will forgive, I know, for I was sorely hurt to find that some one else
had done the duty that was plainly mine. Surely no rude backwoodsman is to come between us now?" She glanced from the one to the other, with true French coquetry. "Faith, I cannot tell, Monsieur," she said, gayly; "stranger things have happened, and 'tis not altogether fine clothes that win the hearts of maidens on this far frontier. We learn soon to love strength, and the manly traits of the border. On my word, Monsieur, this John Wayland seems to have rare powers of body; I imagine he might even have crushed you, as he said." "Think you so?" he asked, eying me curiously. "Yet 'tis not always as it looks, Mademoiselle." It came so quickly as to startle me. I was wondering at the smile that curled his lips, when he sprang upon me, casting his arms around my waist, and twining one leg about mine. The shock of this sudden and unexpected onset took me completely by surprise, and I gave back sharply, scarce realizing his purpose, till he had the under- hold, and sought to lift me for a throw. 'Twas my weight alone that saved me, together with the rare good fortune that I had been leaning upon my gun. As the breath came back to me, we locked grimly in a fierce struggle for the mastery. I had felt the straining grip of strong arms before, but De Croix surprised me, he was like steel, quick of motion as a wild-cat, with many a cunning French wrestling trick that tried me sorely. I heard a quick exclamation of surprise from the girl, a shout of delighted approval from Jordan, and then there was no sound but the harsh trampling of our feet and the heavy breathing. De Croix's effort was to lift me to his hip for a throw; mine, to press him backward by bodily strength. Both of us were sadly hindered by the sliding sand on which we strove. Twice I thought I had him, when my footing failed; and once he held me fairly uplifted from the ground, yet could not make the toss. 'Twas a wild grapple, for when
we had exhausted all the tricks we knew, it came to be a sheer test of physical endurance. Then, for the first time, I felt myself the master,—though he was a man, that gay French dandy, and never did my ribs crack under the pressure of a stronger hand. But I slowly pressed him back, inch by inch, struggling like a demon to the last, until I forced his shoulders to the sand. For a moment he lay there, panting heavily; then the old frank and easy smile came upon his lips. "Your hand, monsieur," he said; "that is, if it yet retains sufficient strength to lift me." Upon his feet he brushed the sand from out his long hair, and bowed gallantly. "I have done my very best, Mademoiselle, 'Tis defeat, but not disgrace, for I have made your giant puff to win. May I not hope it has won me restoration to your good graces?"
CHAPTER IX IN SIGHT OF THE FLAG T would have been impossible not to respond to his sparkling humor and good nature, even had the girl been desirous of doing otherwise. From the first I felt that she liked this reckless courtier, whose easy words and actions made me realize more deeply than ever my own heaviness of thought and wit. As he stood there now, bowing low before her, his clothing awry and his long hair in disorder from our fierce contest, she smiled upon him graciously, and extended a hand that he was prompt enough to accept and hold. "Surely," she said mockingly, "no maid, even in the glorious days of chivalry, had ever more heroic figures to do battle for her honor. I accept the amende, Monsieur, and henceforth enroll you as knight at my court. Upon my word," and she looked about at the desolate sand-heaps surrounding us, "'tis not much to boast of here; nor, in truth, is Dearborn greatly better." She paused, drawing her hand gently from his grasp, and holding it out toward me. "Yet, Captain," she continued, glancing at him archly over her shoulder, "I have likewise another knight, this wood ranger, who hath also won my deep regard and gratitude." De Croix scowled, and twisted his short mustache nervously.
"You put a thorn beside every rose," he muttered. "'Twas your way in Montreal." "A few hundred miles of travel do not greatly change one's nature. Either at Dearborn or Montreal, I am still Toinette. But, Messieurs, I have been told of a camp quite close at hand,—and yet you leave me here in the sand to famish while you quarrel." The tone of her voice, while still full of coquetry, was urgent, and I think we both noted for the first time how white of face she was, and how wearily her eyes shone. The Frenchman, ever ready in such courtesies, was the first to respond by word and act. "You are faint, Toinette," he cried, instantly forgetful of everything else, and springing forward to give her the aid of his arm. "I beg you lean upon me. I have been blind not to note your weakness before. 'Tis indeed not a long walk to our camp from here, —yet, on my life, I know nothing of where it lies. Jordan," he added, speaking as if he were in command, "lead back along the path we came. Sacre! the old bear was gruff enough over the delay of our search; he will be savage now." I know not how Jordan ever found his way back, for the sliding sand had already obliterated all evidences of former travel; but I walked sullenly beside him, leaving De Croix to minister to the needs of the girl as best he might. I felt so dull beside his ready tongue that, in spite of my real liking for the fellow, his presence angered me. 'Tis strange we should ever envy in others what we do not ourselves possess, ignoring those traits of character we have which they no less desire. So to me then it seemed altogether useless to contend for the heart of a woman,—such a woman, at least, as this laughing Toinette,—against the practised wiles of so gay and debonair a cavalier. I steeled my ears to the light badinage they continued to indulge in, and ploughed on through the heavy sand at Jordan's heels, in no mood for converse with any one.
We came upon the camp suddenly, and discovered Captain Wells pacing back and forth, his stern face dark with annoyance. At sight of me, his passion burst all restraint. "By God, sir!" he ejaculated, "if you were a soldier of mine, I would teach you what it meant to put us to such a wait as this! Know you not, Master Wayland, that the lives of helpless women and children may depend upon our haste? And you hold us here in idleness while you wander along the lake-shore like a moonstruck boy!" Before I could answer these harsh words, the girl stepped lightly to my side, and standing there, her hand upon my arm, smiled back into his angry eyes. I do not think he had even perceived her presence until that moment; for he stopped perplexed. "And am I not worth the saving, Monsieur le Capitaine," she questioned, pouting her lips, "that you should blame him so harshly for having stopped to rescue me?" His harsh glance of angry resentment softened as he gazed upon her. "Ah! was that it, then?" he asked, in gentler tones. "But who are you? Surely you are not unattended in this wilderness?" "I am from Fort Dearborn," she answered, "and though only a girl, Monsieur, I have penetrated to the great West even farther than has Captain Wells." "How know you my name?" "Mrs. Heald told me she believed you would surely come when you learned of our plight at the Fort, it was for that she despatched the man Burns with the message,—and she described you so perfectly that I knew at once who you must be. There are not so many white men travelling toward Dearborn now as to make mistake easy."
"And the Fort?" he asked, anxiously. "Is it still garrisoned, or have we come too late?" "It was safely held two days ago," she answered, "although hundreds of savages in war-paint were then encamped without, and holding powwow before the gate. No attack had then been made, yet the officers talked among themselves of evacuating." For a moment the stern soldier seemed to have forgotten her, his eyes fastened upon the western horizon. "The fools!" he muttered to himself, seemingly unconscious that he spoke aloud; "yet if I can but reach there in time, my knowledge of Indian nature may accomplish much." He turned quickly, with a sharp glance over his military force. "We delay no longer. Jordan, do you give this lady your horse for to-day's journey, and go you forward on foot with the Miamis. Watch them closely, and mark well everything in your front as you move." "But, Captain Wells," she insisted, as he turned away, "I am exceedingly hungry, and doubt not this youth would also be much the better for a bit of food." "It will have to be eaten as you travel, then," he answered, not unkindly, but with all his thought now fixed on other things, "for our duty is to reach Dearborn at the first moment, and save those prisoned there from death, and worse." I shall always remember each detail of that day's march, though I saw but little of Toinette save in stolen glances backward, Wells keeping me close at his side, while De Croix, as debonair as ever, was her constant shadow, ministering assiduously to her wants and cheering her journey with agreeable discourse. I heard much of their chatter, earnestly as I sought to remain deaf to it. To this end Wells aided me but little, for he rode forward in stern silence, completely absorbed in his own thoughts.
During the first few hours we passed through a dull desolation of desert sand, the queerly shaped hills on either side scarcely breaking the dead monotony, although they often hid from our sight our advance scouts, and made us feel isolated and alone. Once or twice I imagined I heard the deepening roar of waves bursting upon the shore-line to our right, but could gain no glimpse of blue water through those obscuring dunes. We were following a well-worn Indian trail, beaten hard by many a moccasined foot; and at last it ran from out the coarser sand and skirted along the western beach, almost at the edge of the waves. 'Twas a most delightful change from the cramped and narrowed vision that had been ours so long. Our faces were now set almost directly northward; but I could not withdraw my eyes from the noble expanse of water heaving and tumbling in the dazzling sunlight. Indeed, there was little else about our course to attract attention; the shore in front lay clear and unbroken, bearing a sameness of outline that wearied the vision; each breaking wave was but the type of others that had gone before, and each jutting point of land was the picture of the next to follow. To our left, there extended, parallel to our course of march, a narrow ridge of white and firmly beaten sand, as regular in appearance as the ramparts of a fort. Here and there a break occurred where in some spring flood a sudden rush of water had burst through. Glancing curiously down these narrow aisles, as we rode steadily onward, I caught fleeting glimpses of level prairie-land, green with waving grasses, apparently stretching to the western horizon bare of tree or shrub. At first, I took this to be water also; until I realized that I looked out upon the great plains of the Illinois. The Captain was always chary of speech; now he rode onward with so stern a face, that presently I spoke in inquiry. "You are silent, Captain Wells," I said. "One would expect some rejoicing, as we draw so close to the end of our long journey." He glanced aside at me.
"Wayland," he said slowly, "I have been upon the frontier all my life, and have, as you know, lived in Indian camps and shared in many a savage campaign. I am too old a man, too tried a soldier, ever to hesitate to acknowledge fear; but I tell you now, I believe we are riding northward to our deaths." I had known, since first leaving the Maumee, that danger haunted the expedition; yet these solemn words came as a surprise. "Why think you thus?" I asked, with newly aroused anxiety, my thoughts more with the girl behind than with myself. "Mademoiselle Toinette tells me the Fort is strong and capable of defence, and surely we are already nearly there." "The young girl yonder with De Croix? It may be so, if it also be well provisioned for a long siege, as it is scarce likely any rescue party will be despatched so far westward. If I mistake not, Hull will have no men to spare. Yet I like not the action of the savages about us. 'Tis not in Indian nature to hold off, as these are doing, and permit reinforcements to go by, when they might be halted so easily. 'Twould ease my mind not a little were we attacked." "Attacked? by whom?" He faced me with undisguised surprise, a sarcastic smile curling his grim mouth. His hand swept along the western sky-line. "By those red spies hiding behind that ridge of sand," he answered shortly. "Boy, where are your eyes not to have seen that every step we have taken this day has been but by sufferance of the Pottawattomies? Not for an hour since leaving camp have we marched out of shot from their guns; it means treachery, yet I can scarce tell where or how. If they have spared us this long, there is some good Indian reason for it." I glanced along that apparently desolate sand-bank, barely a hundred feet away, feeling a thrill of uneasiness sweep over me at
the revelation of his words. My eyes saw nothing strange nor suspicious; but I could not doubt his well-trained instinct. "It makes my flesh creep," I admitted; "yet surely the others do not know. Hear how the Frenchman chatters in our rear!" "The young fool!" he muttered, as the sound of a light laugh reached us; "it will prove no jest, ere we are out of this again. Yet, Wayland," and his voice grew stronger, "the red devils must indeed mean to pass us free,—for there is Fort Dearborn, and, unless my sight deceive me, the flag is up." I lifted my eyes eagerly, and gazed northward where his finger pointed.
CHAPTER X A LANE OF PERIL E passed a group of young cottonwoods, the only trees I had noted along the shore; and a few hundred feet ahead of us, the ridge of sand, which had obscured our westward view so long, gradually fell away, permitting the eye to sweep across the wide expanse of level plain until halted by a distant row of stunted trees that seemed to line a stream of some importance. As Captain Wells spoke, my glance, which had been fixed upon these natural objects, was instantly attracted by a strange scene of human activity that unfolded to the north and west. The land before us lay flat and low, with the golden sun of the early afternoon resting hot upon it, revealing each detail in an animated panorama wherein barbarism and civilization each bore a conspicuous part. The Fort was fully a mile and a half distant, and I could distinguish little of its outward appearance, save that it seemed low and solidly built, like a stockade of logs set upon end in the ground. It appeared gloomy, grim, inhospitable, with its gates tightly closed, and no sign of life anywhere along its dull walls; yet my heart was thrilled at catching the bright colors of the garrison flag as the western breeze rippled its folds against the blue background of the sky. But it was outside those log barriers that our eyes encountered scenes of the greatest interest,—a mingling of tawdry decoration and wild savagery, where fierce denizens of forest and plain made their barbaric show.
No finer stage for such a spectacle could well be conceived. Upon one side stretched the great waste of waters; on the other, level plains, composed of yellow sand quickly merging into the green and brown of the prairie, while, scattered over its surface, from the near lake-shore to the distant river, were figures constantly moving, decked in gay feathers and daubed with war-paint. Westward from the Fort, toward the point where a branch of the main river appeared to emerge from the southward, stood a large village of tepees, the sun shining yellow and white on their deer-skin coverings and making an odd glow in the smoke that curled above the lodge-poles. From where we rode it looked to be a big encampment, alive with figures of Indians. My companion and I both noted, and spoke together of the fact, that they all seemed braves; squaws there may have been, but of children there were none visible. Populous as this camp appeared, the plain stretching between it and us was literally swarming with savages. A few were mounted upon horses, riding here and there with upraised spears, their hair flying wildly behind them, their war-bonnets gorgeous in the sunshine. By far the greater number, however, were idling about on foot, stalwart, swarthy fellows, with long black locks, and half-naked painted forms. One group was listening to the words of a chief; others were playing at la crosse; but most of them were merely moving restlessly here and there, not unlike caged wild animals, eager to be free. I heard Captain Wells draw in his breath sharply. "As I live!" he ejaculated, "there can be scarce less than a thousand warriors in that band,—and no trading-party either, if I know aught of Indian signs." Before I could answer him, even had I any word to say, a chief broke away from the gathering mass in our immediate front, and rode headlong down upon us, bringing his horse to its haunches barely a yard away.
He was a large, sinewy man, his face rendered hideous by streaks of yellow and red, wearing a high crown of eagle feathers, with a scalp of long light-colored hair, still bloody, dangling at his belt. For a moment he and Captain Wells looked sternly into each other's eyes without speaking. Then the savage broke silence. "Wau-mee-nuk great brave," he said, sullenly, in broken English, using Wells's Indian name, "but him big fool come here now. Why not stay with Big Turtle? He tell him Pottawattomie not want him here." "Big Turtle did tell me," was the quiet answer, "that the Pottawattomies had made bad medicine and were dancing the war- dance in their villages; but I have met Pottawattomies before, and am not afraid. They have been my friends, and I have done them no wrong." He looked intently at the disguised face before him, seeking to trace the features. "You are Topenebe," he said at last. "True," returned the chief, with proud gravity. "You serve me well once; for that I come now, and tell you go back,—there is trouble here." Wells's face darkened. "Have I ever been a coward," he asked indignantly, "that I should turn and run for a threat? Think you, Topenebe, that I fear to sing the death-song? I have lived in the woods, and gone forth with your war-parties; am I less a warrior, now that I fight with the people of my own race? Go take your warning to some squaw; we ride straight on to Dearborn, even though we have to fight our way." The Indian glanced, as Wells pointed, toward the Fort, and sneered. "All old women in there," he exclaimed derisively. "Say this to- day, and that to-morrow. They shut the gates now to keep Indian on outside. No trade, no rum, no powder,—just lies. But they no keep
back our young men much longer." His face grew dark, and his eyes angry. "Why you bring them?" he asked hotly, designating our escort of Miamis, already shrinking from the taunts of the gathering braves. "They dog Indians, bad medicine; they run fast when Pottawattomie come." "Don't be so certain about that, Topenebe," retorted Wells, shortly. "But we cannot stop longer here; make way, that we may pass along. Jordan, push on with your advance through that rabble there." The Indian chief drew his horse back beside the trail, and we moved slowly forward, our Indian guides slightly in advance, and exhibiting in every action the disinclination they felt to proceed, and their constantly increasing fear of the wild horde that now resorted to every means in their power, short of actual violence, to retard their progress. As they closed in more closely around us, taunting the Miamis unmercifully, even shaking tomahawks in their faces, with fierce eyes full of hatred and murder, I drew back my horse until I ranged up beside Mademoiselle Antoinette, and thus we rode steadily onward through that frenzied, howling mass, the girl between De Croix and me, who thus protected her on either side. It was truly a weary ride, full of insult, and perchance of grave peril had we faced that naked mob less resolutely. Doubtless the chiefs restrained their young men somewhat, but more than once we came within a hair's-breadth of serious conflict. They hemmed us in so tightly that we could only walk our horses; and twice they pressed upon Jordan so hard as to halt him altogether, bunching his cowardly Miamis, and even striking them contemptuously with their blackened sticks. The second time this occurred, Captain Wells rode forward to force a path, driving the spurs into his horse so quickly that the startled animal fairly cut a lane through the crowded savages before they could draw back. Naught restrained them from open violence but their knowledge of that stern-faced swarthy
soldier who fronted them with such dauntless courage. Hundreds in that swarm had seen him before, when, as the adopted son of a great war-chief of the Miamis he had been at their side in many a wild foray along the border. "Wau-mee-nuk, the white chief," passed from lip to lip; and sullenly, slowly, reluctantly, the frenzied red circle fell back, as he pressed his rearing horse full against them. How hideous their painted faces looked, as we slowly pushed past them, their lips shrieking insult, their sinewy hands gripping at our stirrups, their brandished weapons shaken in our faces. With firm-set lips and watchful eyes I rode, bent well forward, so as best to protect the girl, my rifle held across my saddle pommel. Twice some vengeful arm struck me a savage blow, and once a young devil with long matted hair hanging over his fierce eyes thrust a sharpened stake viciously at the girl's face. I struck with quick- clinched hand, and he reeled back into the mass with a sharp cry of pain. My eyes caught the sudden dazzle, as De Croix whipped out his rapier. "Not that, Monsieur!" I cried hastily, across her horse's neck. "Use the hilt, not the blade, unless you wish to die." He heard me above the clamor, and with a quick turn of the weapon struck fiercely at a scowling brave who grasped at his horse's rein. He smiled pleasantly across at me, his fingers twisting his small mustache. "'Tis doubtless good advice, friend Wayland," he said, carelessly, "but these copper-colored devils are indeed most annoying upon this side, and I may lose my temper ere we reach the gate." "For the sake of her who rides between us, I beg that you hold in hard, Monsieur," I answered. "'T would be over-much to pay, I imagine, for a hot brain."
Welcome to our website – the perfect destination for book lovers and knowledge seekers. We believe that every book holds a new world, offering opportunities for learning, discovery, and personal growth. That’s why we are dedicated to bringing you a diverse collection of books, ranging from classic literature and specialized publications to self-development guides and children's books. More than just a book-buying platform, we strive to be a bridge connecting you with timeless cultural and intellectual values. With an elegant, user-friendly interface and a smart search system, you can quickly find the books that best suit your interests. Additionally, our special promotions and home delivery services help you save time and fully enjoy the joy of reading. Join us on a journey of knowledge exploration, passion nurturing, and personal growth every day! ebookbell.com

More Related Content

PDF
Manual Adobe Illustrator Cs5
Moy Gp
 
PDF
Illustrator cs5
Kevin Gonzalez
 
PDF
Acidpro70 manual
alextherock
 
PDF
Openedge Development Progress 4gl Handbook John Sadd
mirelgaitokw
 
PDF
Lan 200999999
ademiralmanza
 
PDF
Data Migration Approach to SAP ISU CRM ECC.pdf
ssuser97273c
 
PPTX
Unit Tests and Test Seams for abap Hamburg June 2017 presented
Rainer Winkler
 
PDF
Power center 10.4 getting started .pdf
VenkiInnConfUsion
 
Manual Adobe Illustrator Cs5
Moy Gp
 
Illustrator cs5
Kevin Gonzalez
 
Acidpro70 manual
alextherock
 
Openedge Development Progress 4gl Handbook John Sadd
mirelgaitokw
 
Lan 200999999
ademiralmanza
 
Data Migration Approach to SAP ISU CRM ECC.pdf
ssuser97273c
 
Unit Tests and Test Seams for abap Hamburg June 2017 presented
Rainer Winkler
 
Power center 10.4 getting started .pdf
VenkiInnConfUsion
 

Similar to Using Adobe Illustrator Cs4 1st Edition Adobe Creative Team (20)

PDF
Embedded Linux system design and development 1st Edition P. Raghavan
alresevked
 
PDF
Complete Download Embedded Linux system design and development 1st Edition P....
zovsorra
 
PDF
Mastering ASP NET with Visual C 1st Edition A. Russell Jones
gezanejerzu
 
PDF
Assembly Language for X86 Processors 8th Edition Kip R. Irvine
ensrudslovo
 
PDF
Mastering ASP NET with Visual C 1st Edition A. Russell Jones
llancojenem63
 
PDF
Informatica Command Line Statements
mnsk80
 
PDF
Informatica transformation guide
sonu_pal
 
PDF
Practical Security For Agile And Devops 1st Edition Mark S Merkow
sundzesamkit
 
PDF
A New Era for Animators
FITC
 
PDF
Proton ds userguide
Andres Vargas
 
PDF
Practical Security for Agile and DevOps 1st Edition Mark S Merkow
hariomtapang
 
PDF
Autocad Mechanical 2008 Users Guide Autodesk
krknaenene86
 
PDF
PDF Embedded Linux system design and development 1st Edition P. Raghavan down...
gjuljokhteb
 
PPTX
Cisco Spark and Tropo and the Programmable Web
Cisco DevNet
 
PDF
Assembly Language For X86 Processors 8th Edition Kip R Irvine
darenmuphypb
 
PDF
プロトタイプでWeb制作の手戻りを減らせ！アドビ初のUI/UXデザインツール、Adobe XDのススメ
Keisuke Todoroki
 
PDF
Adobe Media server family
Транслируем.бел
 
PDF
Application Lifecycle Management for Multivalue Customers
Rocket Software
 
PDF
A+ Complete Study Guide by David Groth 3rd ED.pdf
NamitMehta7
 
PDF
Data Plane Development Kit A Guide To The User Spacebased Fast Network Applic...
poetacloarzt
 
Embedded Linux system design and development 1st Edition P. Raghavan
alresevked
 
Complete Download Embedded Linux system design and development 1st Edition P....
zovsorra
 
Mastering ASP NET with Visual C 1st Edition A. Russell Jones
gezanejerzu
 
Assembly Language for X86 Processors 8th Edition Kip R. Irvine
ensrudslovo
 
Mastering ASP NET with Visual C 1st Edition A. Russell Jones
llancojenem63
 
Informatica Command Line Statements
mnsk80
 
Informatica transformation guide
sonu_pal
 
Practical Security For Agile And Devops 1st Edition Mark S Merkow
sundzesamkit
 
A New Era for Animators
FITC
 
Proton ds userguide
Andres Vargas
 
Practical Security for Agile and DevOps 1st Edition Mark S Merkow
hariomtapang
 
Autocad Mechanical 2008 Users Guide Autodesk
krknaenene86
 
PDF Embedded Linux system design and development 1st Edition P. Raghavan down...
gjuljokhteb
 
Cisco Spark and Tropo and the Programmable Web
Cisco DevNet
 
Assembly Language For X86 Processors 8th Edition Kip R Irvine
darenmuphypb
 
プロトタイプでWeb制作の手戻りを減らせ！アドビ初のUI/UXデザインツール、Adobe XDのススメ
Keisuke Todoroki
 
Adobe Media server family
Транслируем.бел
 
Application Lifecycle Management for Multivalue Customers
Rocket Software
 
A+ Complete Study Guide by David Groth 3rd ED.pdf
NamitMehta7
 
Data Plane Development Kit A Guide To The User Spacebased Fast Network Applic...
poetacloarzt
 
Ad

Recently uploaded (20)

PDF
FYJC - Chemistry textbook - standard 11.
nhunhuq968
 
PDF
Hospital Case Study .architecture design
Amlan Priyadarshan
 
PPTX
Theoretical for class.pptxgshdhddhdhdhgd
MoybonKalif
 
PPTX
PLASMA AND ITS CONSTITUENTS 123.pptx
sweet2th18
 
PPTX
4. Diagnosis and treatment planning in RPD.pptx
rakshasb
 
PPTX
Power Point PR B.Inggris 12 Ed. 2019.pptx
FirdaFauziah14
 
PDF
faiz-khans about Radiotherapy Physics-02.pdf
FrancisKazoba
 
PDF
Nurlina - Urban Planner Portfolio (english ver)
Nurlina Y.
 
PDF
CAT 2024 VARC One - Shot Revision Marathon by Shabana.pptx.pdf
VaibhavBhardwaj394603
 
PPT
hsl powerpoint resource goyloveh feb 07.ppt
bhadevandana246
 
PPTX
Macbeth play - analysis .pptx english lit
helenamistry
 
PDF
Health aspects of bilberry: A review on its general benefits
Open Access Research Paper
 
PDF
Chevening Scholarship Application and Interview Preparation Guide
Leneka Rhoden
 
PPTX
Neurological complocations of systemic disease
BisratAlex2
 
PDF
Disorder of Endocrine system (1).pdfyyhyyyy
[email protected]
 
PPTX
2025 High Blood Pressure Guideline Slide Set.pptx
Ramesh Kumar
 
PDF
The TKT Course. Modules 1, 2, 3.for self study
Aydelina Medina
 
PPTX
pharmaceutics-1unit-1-221214121936-550b56aa.pptx
zonuntluangimph
 
PPT
Acidosis in Dairy Herds: Causes, Signs, Management, Prevention and Treatment
khosrowsamiei2001
 
PDF
Compact First Student's Book Cambridge Official
TunHng48
 
FYJC - Chemistry textbook - standard 11.
nhunhuq968
 
Hospital Case Study .architecture design
Amlan Priyadarshan
 
Theoretical for class.pptxgshdhddhdhdhgd
MoybonKalif
 
PLASMA AND ITS CONSTITUENTS 123.pptx
sweet2th18
 
4. Diagnosis and treatment planning in RPD.pptx
rakshasb
 
Power Point PR B.Inggris 12 Ed. 2019.pptx
FirdaFauziah14
 
faiz-khans about Radiotherapy Physics-02.pdf
FrancisKazoba
 
Nurlina - Urban Planner Portfolio (english ver)
Nurlina Y.
 
CAT 2024 VARC One - Shot Revision Marathon by Shabana.pptx.pdf
VaibhavBhardwaj394603
 
hsl powerpoint resource goyloveh feb 07.ppt
bhadevandana246
 
Macbeth play - analysis .pptx english lit
helenamistry
 
Health aspects of bilberry: A review on its general benefits
Open Access Research Paper
 
Chevening Scholarship Application and Interview Preparation Guide
Leneka Rhoden
 
Neurological complocations of systemic disease
BisratAlex2
 
Disorder of Endocrine system (1).pdfyyhyyyy
[email protected]
 
2025 High Blood Pressure Guideline Slide Set.pptx
Ramesh Kumar
 
The TKT Course. Modules 1, 2, 3.for self study
Aydelina Medina
 
pharmaceutics-1unit-1-221214121936-550b56aa.pptx
zonuntluangimph
 
Acidosis in Dairy Herds: Causes, Signs, Management, Prevention and Treatment
khosrowsamiei2001
 
Compact First Student's Book Cambridge Official
TunHng48
 
Ad

Using Adobe Illustrator Cs4 1st Edition Adobe Creative Team

  • 1. Using Adobe Illustrator Cs4 1st Edition Adobe Creative Team download https://ebookbell.com/product/using-adobe-illustrator-cs4-1st- edition-adobe-creative-team-53214840 Explore and download more ebooks at ebookbell.com
  • 2. Here are some recommended products that we believe you will be interested in. You can click the link to download. Special Edition Using Adobe Illustrator 10 Special Peter Bauer https://ebookbell.com/product/special-edition-using-adobe- illustrator-10-special-peter-bauer-2535528 Ui Design With Adobe Illustrator Discover The Ease And Power Of Using Illustrator To Design Web Sites And Apps 1st Edition Rick Moore https://ebookbell.com/product/ui-design-with-adobe-illustrator- discover-the-ease-and-power-of-using-illustrator-to-design-web-sites- and-apps-1st-edition-rick-moore-4672698 Ui Design With Adobe Illustrator Discover The Ease And Power Of Using Illustrator To Design Web Sites And Apps Rick Moore https://ebookbell.com/product/ui-design-with-adobe-illustrator- discover-the-ease-and-power-of-using-illustrator-to-design-web-sites- and-apps-rick-moore-50194532 Using Adobe Digital Publishing Suite Wood Brian https://ebookbell.com/product/using-adobe-digital-publishing-suite- wood-brian-38223994
  • 3. Photoshop Cs2 Raw Using Adobe Camera Raw Bridge And Photoshop To Get The Most Out Of Your Digital Camera 1st Edition Mikkel Aaland https://ebookbell.com/product/photoshop-cs2-raw-using-adobe-camera- raw-bridge-and-photoshop-to-get-the-most-out-of-your-digital- camera-1st-edition-mikkel-aaland-2497096 Photograph Restoration And Enhancement Using Adobe Photoshop Cc 2021 Version 3rd Edition Vickie Ellen Woldper https://ebookbell.com/product/photograph-restoration-and-enhancement- using-adobe-photoshop-cc-2021-version-3rd-edition-vickie-ellen- woldper-33821032 Creative Photography Ideas Using Adobe Photoshop Tony Worobiec https://ebookbell.com/product/creative-photography-ideas-using-adobe- photoshop-tony-worobiec-38074064 Creative Photography Ideas Using Adobe Photoshopcreative Use Of Filters And Further Image Manipulation Tony Worobiec https://ebookbell.com/product/creative-photography-ideas-using-adobe- photoshopcreative-use-of-filters-and-further-image-manipulation-tony- worobiec-48940186 Creative Photography Ideas Using Adobe Photoshop 75 Workshops To Enhance Your Photographs Tony Worobiec https://ebookbell.com/product/creative-photography-ideas-using-adobe- photoshop-75-workshops-to-enhance-your-photographs-tony- worobiec-4416340
  • 6. Copyright © 2008 Adobe Systems Incorporated. All rights reserved. Using Adobe® Illustrator® CS4 for Windows® and Mac OS If this guide is distributed with software that includes an end user agreement, this guide, as well as the software described in it, is furnished under license and may be used or copied only in accordance with the terms of such license. Except as permitted by any such license, no part of this guide may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, recording, or otherwise, without the prior written permission of Adobe Systems Incorporated. Please note that the content in this guide is protected under copyright law even if it is not distributed with software that includes an end user license agreement. The content of this guide is furnished for informational use only, is subject to change without notice, and should not be construed as a commitment by Adobe Systems Incorporated. Adobe Systems Incorporated assumes no responsibility or liability for any errors or inaccuracies that may appear in the informational content contained in this guide. Please remember that existing artwork or images that you may want to include in your project may be protected under copyright law. The unauthorized incorporation of such material into your new work could be a violation of the rights of the copyright owner. Please be sure to obtain any permission required from the copyright owner. Any references to company names in sample templates are for demonstration purposes only and are not intended to refer to any actual organization. Adobe, the Adobe logo, Adobe Garamond, Acrobat, ActionScript, After Effects, Caflisch Script, Creative Suite, Dreamweaver, Fireworks, Flash, Flex, GoLive, Illustrator, InCopy, InDesign, Kuler, PostScript, Photoshop, Reader, Version Cue, are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. OpenType, Windows, and Windows Vista are registered trademarks of Microsoft Corporation in the U.S and/or other countries. Mac, Macintosh, and Mac OS are trademarks of Apple Inc., registered in the United States and other countries. Symbian and all Symbian based marks and logos are trademarks of Symbian Limited. SVG is a trademark of the World Wide Web Consortium; marks of the W3C are registered and held by its host institutions MIT, INRIA and Keio. All other trademarks are the property of their respective owners. This product includes either BISAFE and/or TIPEM software by RSA Data Security, Inc.Copyright © 1995-2002 Metrowerks Corporation. All rights reserved. Copyright © 1994 Hewlett-Packard CompanyCopyright © 1996, 1997 Silicon Graphics Computer Systems, Inc. Copyright © 1998 Gilles Vollant This product includes software developed by the Apache Software Foundation (http://www.apache.org) This Program was written with MacApp®: ©1985-1988 Apple Computer, Inc. The MacApp software is proprietary to Apple Computer, Inc. and is licensed to Adobe for distribution only for use in combination with Adobe Illustrator. PANTONE® Colors displayed in the software application or in the user documentation may not match PANTONE-identified standards. Consult current PANTONE Color Publications for accurate color. PANTONE® and other Pantone, Inc. trademarks are property of Pantone, Inc. © Pantone, Inc. 2006. Pantone, Inc. is the copyright owner of color data and/or software which are licensed to Adobe Systems Incorporated to distribute for use only in combination with Adobe Illustrator. PANTONE Color Data and/or Software shall not be copied onto another disk or into memory unless as part of the execution of Adobe Illustrator software. Software is produced under DIC's copyrights of color-data-base derived from Sample Books. Flash 9 video is powered by On2 TrueMotion video technology. © 1992-2005 On2 Technologies, Inc. All Rights Reserved. http://www.on2.com This product includes software developed by the OpenSymphony Group (http://www.opensymphony.com/) Portions of this code are licensed from Nellymoser (www.nellymoser.com) Sorenson Spark™ video compression and decompression technology licensed from Sorenson Media, Inc. Certain Spelling portions of this product are based on Proximity Linguistic Technology. ©Copyright 1990 Merriam-Webster Inc. ©Copyright 1990 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 2003 Franklin Electronic Publishers Inc.©Copyright 2003 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. Legal Supplement ©Copyright 1990/1994 Merriam-Webster Inc./Franklin Electronic Publishers Inc. ©Copyright 1994 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1990/1994 Merriam-Webster Inc./Franklin Electronic Publishers Inc. ©Copyright 1997All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA ©Copyright 1990 Merriam-Webster Inc. ©Copyright 1993 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 2004 Franklin Electronic Publishers Inc. ©Copyright 2004 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1991 Dr. Lluis de Yzaguirre I Maura ©Copyright 1991 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1990 Munksgaard International Publishers Ltd. ©Copyright 1990 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1990 Van Dale Lexicografie bv ©Copyright 1990 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1995 Van Dale Lexicografie bv ©Copyright 1996 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1990 IDE a.s. ©Copyright 1990 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1992 Hachette/Franklin Electronic Publishers Inc. ©Copyright 2004 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1991 Text & Satz Datentechnik ©Copyright 1991 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 2004 Bertelsmann Lexikon Verlag ©Copyright 2004 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 2004 MorphoLogic Inc. ©Copyright 2004 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1990 William Collins Sons & Co. Ltd. ©Copyright 1990 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1993-95 Russicon Company Ltd. ©Copyright 1995 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 2004 IDE a.s. ©Copyright 2004 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. The Hyphenation portion of this product is based on Proximity Linguistic Technology. ©Copyright 2003 Franklin Electronic Publishers Inc.©Copyright 2003 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1984 William Collins Sons & Co. Ltd. ©Copyright 1988 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1990 Munksgaard International Publishers Ltd. ©Copyright 1990 All rights
  • 7. reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1997 Van Dale Lexicografie bv ©Copyright 1997 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1984 Editions Fernand Nathan ©Copyright 1989 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1983 S Fischer Verlag ©Copyright 1997 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1989 Zanichelli ©Copyright 1989 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1989 IDE a.s. ©Copyright 1989 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1990 Espasa-Calpe ©Copyright 1990 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. ©Copyright 1989 C.A. Stromberg AB. ©Copyright 1989 All rights reserved. Proximity Technology A Division of Franklin Electronic Publishers, Inc. Burlington, New Jersey USA. Notice to U.S. Government End Users: The Software and Documentation are “Commercial Items,” as that term is defined at 48 C.F.R. §2.101, consisting of “Commercial Computer Software” and “Commercial Computer Software Documentation,” as such terms are used in 48 C.F.R. §12.212 or 48 C.F.R. §227.7202, as applicable. Consistent with 48 C.F.R. §12.212 or 48 C.F.R. §§227.7202-1 through 227.7202-4, as applicable, the Commercial Computer Software and Commercial Computer Software Documentation are being licensed to U.S. Government end users (a) only as Commercial Items and (b) with only those rights as are granted to all other end users pursuant to the terms and conditions herein. Unpublished-rights reserved under the copyright laws of the United States. Adobe agrees to comply with all applicable equal opportunity laws including, if appropriate, the provisions of Executive Order 11246, as amended, Section 402 of the Vietnam Era Veterans Readjustment Assistance Act of 1974 (38 USC 4212), and Section 503 of the Rehabilitation Act of 1973, as amended, and the regulations at 41 CFR Parts 60-1 through 60-60, 60-250, and 60-741. The affirmative action clause and regulations contained in the preceding sentence shall be incorporated by reference. Adobe Systems Incorporated, 345 Park Avenue, San Jose, California 95110, USA.
  • 8. iv Contents Chapter 1: Resources Activation and registration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Help and support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 Services, downloads, and extras . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 What’s new . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Chapter 2: Workspace Workspace basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Customizing the workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Tool galleries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Files and templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Manage connections to web services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Working with ConnectNow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Using multiple artboards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Viewing artwork . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 Rulers, grids, guides, and crop marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Setting preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 Recovery, undo, and automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 Chapter 3: Drawing Drawing basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 Drawing simple lines and shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Drawing with the Pencil tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Drawing with the Pen tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 Editing paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 Tracing artwork . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78 Symbolism tools and symbol sets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84 Drawing flares . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 Chapter 4: Color About color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Selecting colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 Using and creating swatches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 Working with color groups (harmonies) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106 Kuler panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121 Adjusting colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122 Chapter 5: Color management Understanding color management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127 Keeping colors consistent . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129 Color-managing imported images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133 Color-managing documents for online viewing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
  • 9. v Proofing colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135 Color-managing documents when printing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138 Working with color profiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140 Color settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145 Chapter 6: Painting Painting with fills and strokes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150 Live Paint groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158 Brushes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166 Transparency and blending modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174 Gradients . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181 Meshes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185 Patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188 Chapter 7: Selecting and arranging objects Selecting objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194 Grouping and expanding objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203 Moving, aligning, and distributing objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204 Rotating and reflecting objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208 Using layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212 Locking, hiding, and deleting objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216 Stacking objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217 Duplicating objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218 Chapter 8: Reshaping objects Transforming objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221 Scaling, shearing, and distorting objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223 Reshape using envelopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227 Combining objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230 Cutting and dividing objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237 Clipping masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238 Blending objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241 Reshaping objects with effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245 Creating 3D objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246 Chapter 9: Importing, exporting, and saving Importing files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254 Importing bitmap images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258 Importing Adobe PDF files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260 Importing EPS, DCS, and AutoCAD files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261 Importing artwork from Photoshop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263 Saving artwork . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264 Exporting artwork . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270 Creating Adobe PDF files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278 Adobe PDF options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282 File information and metadata . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289
  • 10. vi Chapter 10: Type Importing text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291 Creating point and area type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292 Creating type on a path . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299 Scaling and rotating type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302 Spelling and language dictionaries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303 Fonts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305 Formatting type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308 Line and character spacing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316 Special characters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318 Formatting paragraphs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321 Hyphenation and line breaks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325 Tabs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327 Character and paragraph styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 330 Exporting text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332 Formatting Asian characters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334 Creating composite fonts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342 Updating text from Illustrator 10 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345 Chapter 11: Creating special effects Appearance attributes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347 Working with effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352 Summary of effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355 Drop shadows, glows, and feathering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361 Creating sketches and mosaics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363 Graphic styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364 Chapter 12: Web graphics Best practices for creating web graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369 Slices and image maps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372 SVG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376 Creating animations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 379 Optimizing images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382 Web graphics optimization options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 387 Output settings for web graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 399 Chapter 13: Printing Setting up documents for printing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 402 Printing color separations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407 Printer’s marks and bleed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 410 PostScript printing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 412 Printing with color management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 414 Printing gradients, meshes, and color blends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 416 Printing and saving transparent artwork . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 419 Overprinting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 426 Trapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 427 Print presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 431
  • 11. vii Chapter 14: Automating tasks Actions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 434 Scripts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441 Data-driven graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 442 Chapter 15: Graphs Creating graphs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447 Formatting graphs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451 Adding pictures and symbols to graphs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 455 Chapter 16: Keyboard shortcuts Customizing keyboard shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 460 Default keyboard shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 461 Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 473
  • 12. 1 Chapter 1: Resources Before you begin working with your software, take a few moments to read an overview of activation and the many resources available to you. You have access to instructional videos, plug-ins, templates, user communities, seminars, tutorials, RSS feeds, and much more. Activation and registration Help with installation For help with installation issues, see the Installation Support Center at www.adobe.com/go/cs4install. License activation During the installation process, your Adobe software contacts Adobe to complete the license activation process. No personal data is transmitted. For more information on product activation, visit the Adobe website at www.adobe.com/go/activation. A single-user retail license activation supports two computers. For example, you can install the product on a desktop computer at work and on a laptop computer at home. If you want to install the software on a third computer, first deactivate it on one of the other two computers. Choose Help > Deactivate. Register Register your product to receive complimentary installation support, notifications of updates, and other services. ❖ To register, follow the on-screen instructions in the Registration dialog box, which appears after you install the software. If you postpone registration, you can register at any time by choosing Help > Registration. Adobe Product Improvement Program After you use your Adobe software a certain number of times, a dialog box may appear asking whether you want to participate in the Adobe Product Improvement Program. If you choose to participate, data about your use of Adobe software is sent to Adobe. No personal information is recorded or sent. The Adobe Product Improvement Program only collects information about which features and tools you use and how often you use them. You can opt in to or out of the program at any time: • To participate, choose Help > Adobe Product Improvement Program and click Yes, Participate. • To stop participating, choose Help > Adobe Product Improvement Program and click No, Thank You.
  • 13. 2 USING ADOBE ILLUSTRATOR CS4 Resources ReadMe A ReadMe file for your software is available online and on the installation disc. Open the file to read important information about topics such as the following: • System requirements • Installation (including uninstalling the software) • Activation and registration • Font installation • Troubleshooting • Customer support • Legal notices Help and support Community Help Community Help is an integrated environment on adobe.com that gives you access to community-generated content moderated by Adobe and industry experts. Comments from users help guide you to an answer. Search Community Help to find the best content on the web about Adobe products and technologies, including these resources: • Videos, tutorials, tips and techniques, blogs, articles, and examples for designers and developers. • Complete online Help, which is updated regularly and is more complete than the Help delivered with your product. If you are connected to the Internet when you access Help, you automatically see the complete online Help rather than the subset delivered with your product. • All other content on Adobe.com, including knowledgebase articles, downloads and updates, Developer Connection, and more. Use the help search field in your product’s user interface to access Community Help. For a video of Community Help, see www.adobe.com/go/lrvid4117_xp. Other resources Printed versions of the complete online Help are available for the cost of shipping and handling at www.adobe.com/go/store. Online Help also includes a link to the complete, updated PDF version of Help. Visit the Adobe Support website at www.adobe.com/support to learn about free and paid technical support options. Services, downloads, and extras You can enhance your product by integrating a variety of services, plug-ins, and extensions in your product. You can also download samples and other assets to help you get your work done.
  • 14. 3 USING ADOBE ILLUSTRATOR CS4 Resources Adobe creative online services Adobe® Creative Suite® 4 includes new online features that bring the power of the web to your desktop. Use these features to connect with the community, collaborate, and get more from your Adobe tools. Powerful creative online services let you complete tasks ranging from color matching to data conferencing. The services seamlessly integrate with desktop applications so you can quickly enhance existing workflows. Some services offer full or partial functionality when you’re offline too. Visit Adobe.com to learn more about available services. Some Creative Suite 4 applications include these initial offerings: Kuler™ panel Quickly create, share, and explore color themes online. Adobe® ConnectNow Collaborate with dispersed working teams over the web, sharing voice, data, and multimedia. Resource Central Instantly access tutorials, sample files, and extensions for Adobe digital video applications. For information on managing your services, see the Adobe website at www.adobe.com/go/learn_creativeservices_en. Adobe Exchange Visit the Adobe Exchange at www.adobe.com/go/exchange to download samples as well as thousands of plug-ins and extensions from Adobe and third-party developers. The plug-ins and extensions can help you automate tasks, customize workflows, create specialized professional effects, and more. Adobe downloads Visit www.adobe.com/go/downloads to find free updates, tryouts, and other useful software. Adobe Labs Adobe Labs at www.adobe.com/go/labs gives you the opportunity to experience and evaluate new and emerging technologies and products from Adobe. At Adobe Labs, you have access to resources such as these: • Prerelease software and technologies • Code samples and best practices to accelerate your learning • Early versions of product and technical documentation • Forums, wiki-based content, and other collaborative resources to help you interact with like-minded users. Adobe Labs fosters a collaborative software development process. In this environment, customers quickly become productive with new products and technologies. Adobe Labs is also a forum for early feedback. The Adobe development teams use this feedback to create software that meets the needs and expectations of the community. Adobe TV Visit Adobe TV at http://tv.adobe.com to view instructional and inspirational videos. Extras The installation disc contains a variety of extras to help you make the most of your Adobe software. Some extras are installed on your computer during the setup process; others are located on the disc. To view the extras installed during the setup process, navigate to the application folder on your computer. • Windows®: [startup drive]Program FilesAdobe[Adobe application]
  • 15. 4 USING ADOBE ILLUSTRATOR CS4 Resources • Mac OS®: [startup drive]/Applications/[Adobe application] To view the extras on the disc, navigate to the Goodies folder in your language folder on the disc. Example: • /English/Goodies/ What’s new Enriched workspace tools Multiple artboards in your documents Create multi-page files containing up to 100 artboards of varying sizes. You can create artboards that overlap, appear side-by-side, or are stacking on top of one another. You can also save, export and print artboards independently or together. Multiple artboards have replaced the Crop Area tool. (See “Using multiple artboards” on page 34.) Tabbed document windows and Document Arrangement panel Display multiple documents in a tabbed view or open them side by side so you can easily compare or drag items from one document to another. Simply click a document’s tab to open it, or click Close (x) on a tab to close it. Use the intuitive Arrange Documents window to quickly arrange your open documents in a variety of configurations. (See “Manage Document windows” on page 12.) Application bar and workspace switcher From the application bar at the top of each Creative Suite application, provides menus and options in one easy to access place. Use the workspace switcher to quickly jump to different workspace configurations to meet your specific needs. Also along this bar, you can access Adobe Bridge and the document arrangement panel. (See “Workspace overview” on page 7.) Practical smart guides Smart guides are now even more practical with unobtrusive appearance and behaviors. Instant pop-ups appear with alignment and measurement information, such as deltas between objects and angles of rotation (that you can specify) and when moving or transforming objects. Of course, objects still snap to any alignment you choose to make it easy to arrange and transform objects exactly how you want. (See “Smart Guides” on page 45.) Quick, easy, and obvious key object alignment The Align panel and Control panel now provide quick access to the key alignment option. A key object is the one object that you want other objects to align to. You specify a key object by selecting all the objects you want to align, including the key object, and then clicking again on the key object. When selected, the key objects appears with a thick blue outline, and the Align To Key Object icon appears in the Control panel and Align panel. Simply choose an alignment option, such as Horizontal Align Left or Vertical Align Center, and all the other selected objects align to the key object. (See “Align or distribute relative to a key object” on page 207.)
  • 16. 5 USING ADOBE ILLUSTRATOR CS4 Resources New drawing and color tools Blob Brush tool for merging paths Use the Blob Brush to draw paths that merge with existing artwork. The Blob Brush draws paths that are fill only - no stroke - and can merge with existing artwork that has the same fill, and no stroke. The Blob Brush can merge with existing artwork that has complicated appearances (as long as there is no stroke on the artwork and the Blob Brush is set up to paint with the exact same fill and appearance settings. For example, if you’ve created a yellow filled rectangle with a drop shadow applied, you can set up the Blob Brush with those attributes and then draw a path across the rectangle, and the two paths will be merged. You can easily select and edit the resulting shape. Use the Blob Brush together with the Eraser tool for truly intuitive vector painting. (See “Draw and merge paths with the Blob Brush tool” on page 154.) Expanded Gradients panel and tool Using the enhanced Gradient tool, you can interact with gradients on the object itself by adding or changing color stops, applying transparency to color stops, and changing the direction or angle of a linear or elliptical gradient (also new in CS4). The Gradient panel now provides a menu of all your saved gradients, directly access color panels, and apply transparency to individual color spots, among other things. (See “Gradients” on page 181.) Transparency in gradients Create gradients with two to many colors and define the opacity of any or all individual colors. By specifying different opacity values for the different color stops in your gradient, you can create gradients that fade in or out and reveal or hide underlying images. (See “Gradients” on page 181.) Separations Preview panel Preview your color separations on your monitor before printing to avoid color output surprises such as unexpected spot colors and unwanted overprinting. The Separations Preview panel lets you easily turn colors on and off so you can see how blending, transparency, and overprinting will appear in color-separated output. (See “Preview color separations” on page 408.) Improved access to core functionality Clipping masks with clear simplified appearance and access Adobe Illustrator now displays only the masked area while you are moving or transforming a masked object. Double- click the masked object to open it in Isolation mode, where you can view and edit the mask independently of all other objects. (See “Clipping masks” on page 238 and “Isolate artwork for editing” on page 195.) In-panel Appearance editing Select an item in the Appearance panel to view and use the enhanced full-featured controls. Click hyper-links to open option dialog boxes for effects, strokes, and fills. Click a visibility icon for any attribute to easily turn it on or off. (See “Appearance attributes” on page 347.)
  • 17. 6 USING ADOBE ILLUSTRATOR CS4 Resources Enriched Graphic Styles panel The newly updated Graphic Styles panel provides you with a quick and easy way to view and apply styles to objects in your document. Use the Use Text For Preview option to view a style as it appears on text, or right-click a thumbnail to quickly preview how that style will look on a selected object on the artboard. Effect-only styles now display the outlines of the object on which the style was created, so you can recognize your effect-only styles at a glance. Merge a style with an object’s existing style or merge two or more different styles on an object by simply using the Alt or Option key when applying the style. (See “Graphic styles” on page 364.) Enhanced integration at export Support for Flex extensions Efficiently deliver more editable, workable content to developers for web, interactive, and RIA projects. For instance, use the Flex Skins for Illustrator to create and export vector skins in the Adobe Flex format. (See “Save in FXG format” on page 267.) Multiple artboard export support Creating documents with multiple artboards now makes it easy to create multi-page documents for exporting. You can export artboards to any of the following formats: PDF, PSD, SWF, JPEG, PNG, and TIFF. Or import a multiple artboard Illustrator file into Adobe InDesign or Adobe Flash.You can now easily create multiple-page PDFs. When exporting to Flash SWF format, multiple artboards export as multiple files. (See “Saving artwork” on page 264 and “Export artwork” on page 270.)
  • 18. 7 Chapter 2: Workspace Welcome to Adobe® Illustrator® CS4. Illustrator gives you an efficient workspace and user interface to create and edit artwork for print, the web, and mobile devices. To see a video on using Adobe Illustrator, see www.adobe.com/go/lrvid4015_ai. Workspace basics Workspace overview You create and manipulate your documents and files using various elements, such as panels, bars, and windows. Any arrangement of these elements is called a workspace. The workspaces of the different applications in Adobe® Creative Suite® 4 share the same appearance so that you can move between the applications easily. You can also adapt each application to the way you work by selecting from several preset workspaces or by creating one of your own. Although the default workspace layout varies in different products, you manipulate the elements much the same way in all of them.
  • 19. 8 USING ADOBE ILLUSTRATOR CS4 Workspace Default Illustrator workspace A. Tabbed Document windows B. Application bar C. Workplace switcher D. Panel title bar E. Control panel F. Tools panel G. Collapse To Icons button H. Four panel groups in vertical dock • The Application bar across the top contains a workspace switcher, menus (Windows only), and other application controls. On the Mac for certain products, you can show or hide it using the Window menu. • The Tools panel contains tools for creating and editing images, artwork, page elements, and so on. Related tools are grouped. • The Control panel displays options for the currently selected tool. The Control panel is also known as the options bar in Photoshop. (Adobe Flash®, Adobe Dreamweaver®, and Adobe Fireworks® have no Control panel.) • Flash, Dreamweaver, and Fireworks have a Property inspector that displays options for the currently selected element or tool. • The Document window displays the file you’re working on. Document windows can be tabbed and, in certain cases, grouped and docked. • Panels help you monitor and modify your work. Examples include the Timeline in Flash, the Layers panel in Adobe Photoshop®, and the CSS Styles panel in Dreamweaver. Panels can be grouped, stacked, or docked. G F H A B D C E
  • 20. 9 USING ADOBE ILLUSTRATOR CS4 Workspace • On the Mac, the Application frame groups all the workspace elements in a single, integrated window that lets you treat the application as a single unit. When you move or resize the Application frame or any of its elements, all the elements within it respond to each other so none overlap. Panels don’t disappear when you switch applications or when you accidentally click out of the application. If you work with two or more applications, you can position each application side by side on the screen or on multiple monitors. If you prefer the traditional, free-form user interface of the Mac, you can turn off the Application frame. In Adobe Illustrator®, for example, select Window > Application Frame to toggle it on or off. (In Flash, the Application frame is on permanently. Dreamweaver does not use an Application frame.) Hide or show all panels • (Illustrator, Adobe InCopy®, Adobe InDesign®, Photoshop, Fireworks)To hide or show all panels, including the Tools panel and Control panel, press Tab. • (Illustrator, InCopy, InDesign, Photoshop) To hide or show all panels except the Tools panel and Control panel, press Shift+Tab. You can temporarily display hidden panels if Auto-Show Hidden Panels is selected in Interface preferences. It’s always on in Illustrator. Move the pointer to the edge of the application window (Windows®) or to the edge of the monitor (Mac OS®) and hover over the strip that appears. • (Flash, Dreamweaver, Fireworks) To hide or show all panels, press F4. Display panel options ❖ Click the panel menu icon in the upper-right corner of the panel. You can open a panel menu even when the panel is minimized. (Illustrator) Adjust panel brightness ❖ In User Interface preferences, move the Brightness slider. This control affects all panels, including the Control panel. Reconfigure the Tools panel You can display the tools in the Tools panel in a single column, or side by side in two columns. (This feature is not available in the Tools panel in Fireworks and Flash.) In InDesign and InCopy, you also can switch from single-column to double-column (or single-row) display by setting an option in Interface preferences. ❖ Click the double arrow at the top of the Tools panel. Search For Help box Use the Search For Help box on the right side of the Application bar to search for Help topics and online content. If you have an active Internet connection, you can access all content on the Community Help website. If you search for Help without an active Internet connection, search results are limited to Help content that is included with Illustrator. 1 In the search box, type the name of the item on which you want to search (such as a feature, application, or tool). 2 Press Enter. All topics available from the Community Help center appear in a separate browser window.
  • 21. 10 USING ADOBE ILLUSTRATOR CS4 Workspace About screen modes You can change the visibility of the illustration window and menu bar using the mode options at the bottom of the Tools panel. To access panels when in Full Screen Mode, position the cursor at the left or right edge of the screen and the panels will pop up. If you’ve moved them from their default locations, you can access them from the Window menu. You can choose one of the following modes: • Normal Screen Mode displays artwork in a standard window, with a menu bar at the top and scroll bars on the sides. • Full Screen Mode With Menu Bar displays artwork in a full-screen window, with a menu bar at the top and scroll bars. • Full Screen Mode displays artwork in a full-screen window, with no title bar or menu bar. Using the status bar The status bar appears at the lower-left edge of the illustration window. It displays any of the following: • current zoom level • current tool in use • current artboard in use • navigation controls for multiple artboards • date and time • number of undos and redos available • document color profile • status of a managed file Click the status bar to do any of the following: • Change the type of information displayed in the status bar by selecting an option from the Show submenu. • Show the current file in Adobe Bridge by choosing Reveal In Bridge. • Access Version Cue® commands. See also “Adobe Version Cue” on page 32 Enter values in panels and dialog boxes You enter values using the same methods in all panels and dialog boxes. You can also perform simple math in any box that accepts numeric values. For example, if you want to move a selected object 3 units to the right using the current measurement units, you don’t have to work out the new horizontal position—simply type +3 after the current value in the Transform panel. Enter a value in a panel or dialog box ❖ Do any of the following: • Type a value in the box, and press Enter or Return. • Drag the slider.
  • 22. 11 USING ADOBE ILLUSTRATOR CS4 Workspace • Drag the dial. • Click the arrow buttons in the panel to increase or decrease the value. • Click in the box and then use the Up Arrow key and Down Arrow key on the keyboard to increase or decrease the value. Hold down Shift and click an arrow key to magnify the increase rate or decrease rate. • Select a value from the menu associated with the box. Ways to enter values A. Arrow buttons B. Text box C. Menu arrow D. Slider E. Dial Calculate values in a panel or dialog box 1 In a text box that accepts numerical values, do one of the following: • To replace the entire current value with a mathematical expression, select the entire current value. • To use the current value as part of a mathematical expression, click before or after the current value. 2 Type a simple mathematical expression using a single mathematical operator, such as + (plus), - (minus), x (multiplication), / (division), or % (percent). For example, 0p0 + 3 or 5mm + 4. Similarly, 3cm * 50% equals 3 centimeters multiplied by 50%, or 1.50 cm, and 50pt + 25% equals 50 points plus 25% of 50 points, or 62.5 points. 3 Press Enter or Return to apply the calculation. Control panel overview The Control panel offers quick access to options related to the objects you select. By default, the Control panel is docked at the top of the workspace. Options displayed in the Control panel vary depending on the type of object or tool you select. For example, when you select a text object, the Control panel displays text-formatting options in addition to options for changing the color, placement, and dimensions of the object. When a selection tool is active, you can access Document Setup and Preferences from the Control panel. Control panel A. Hidden options B. Link to another panel C. Panel menu When text in the Control panel is blue and underlined, you can click the text to display a related panel or dialog box. For example, click the word Stroke to display the Stroke panel. A B C E D A B C
  • 23. 12 USING ADOBE ILLUSTRATOR CS4 Workspace Change the kinds of controls that appear in the Control panel ❖ Select or deselect options in the Control panel menu. Open and close a panel or dialog box from the Control panel 1 Click a blue underlined word to open its associated panel or dialog box. 2 Click anywhere outside of the panel or dialog box to close it. Dock the Control panel at the bottom of the workspace ❖ Choose Dock To Bottom from the Control panel menu. Convert the Control panel to a floating panel ❖ Drag the gripper bar (located on the left edge of the panel) away from its current position. To redock the Control panel, drag the gripper bar to the top or bottom of the application window (Windows) or screen (Mac OS). Customizing the workspace Manage windows and panels You can create a custom workspace by moving and manipulating Document windows and panels. You can also save workspaces and switch among them. Note: The following examples use Photoshop for demonstration purposes. The workspace behaves the same in all the products. Narrow blue drop zone indicates Color panel will be docked on its own above the Layers panel group. A. Title bar B. Tab C. Drop zone In Photoshop, you can change the font size of the text in the Control panel, in the panels, and in tool tips. Choose a size from the UI Font Size menu in Interface preferences. Manage Document windows When you open more than one file, the Document windows are tabbed. • To rearrange the order of tabbed Document windows, drag a window’s tab to a new location in the group. • To undock a Document window from a group of windows, drag the window’s tab out of the group. • To dock a Document window to a separate group of Document windows, drag the window into the group. A B C
  • 24. 13 USING ADOBE ILLUSTRATOR CS4 Workspace Note: Dreamweaver does not support docking and undocking Document windows. Use the Document window’s Minimize button to create floating windows. • To create groups of stacked or tiled documents, drag the window to one of the drop zones along the top, bottom, or sides of another window. You can also select a layout for the group by using the Layout button on the Application bar. Note: Some products do not support this functionality. However, your product may have Cascade and Tile commands in the Window menu to help you lay out your documents. • To switch to another document in a tabbed group when dragging a selection, drag the selection over the document’s tab for a moment. Note: Some products do not support this functionality. Dock and undock panels A dock is a collection of panels or panel groups displayed together, generally in a vertical orientation. You dock and undock panels by moving them into and out of a dock. Note: Docking is not the same as stacking. A stack is a collection of floating panels or panel groups, joined top to bottom. • To dock a panel, drag it by its tab into the dock, at the top, bottom, or in between other panels. • To dock a panel group, drag it by its title bar (the solid empty bar above the tabs) into the dock. • To remove a panel or panel group, drag it out of the dock by its tab or title bar. You can drag it into another dock or make it free-floating. Navigator panel being dragged out to new dock, indicated by blue vertical highlight Navigator panel now in its own dock
  • 25. 14 USING ADOBE ILLUSTRATOR CS4 Workspace You can prevent panels from filling all the space in a dock. Drag the bottom edge of the dock up so it no longer meets the edge of the workspace. Move panels As you move panels, you see blue highlighted drop zones, areas where you can move the panel. For example, you can move a panel up or down in a dock by dragging it to the narrow blue drop zone above or below another panel. If you drag to an area that is not a drop zone, the panel floats freely in the workspace. • To move a panel, drag it by its tab. • To move a panel group or a stack of floating panels, drag the title bar. Press Ctrl (Windows) or Command (Mac OS) while moving a panel to prevent it from docking. Press Esc while moving the panel to cancel the operation. Note: The dock is stationary and can’t be moved. However, you can create panel groups or stacks and move them anywhere. Add and remove panels If you remove all panels from a dock, the dock disappears. You can create a dock by moving panels to the right edge of the workspace until a drop zone appears. • To remove a panel, right-click (Windows) or Control-click (Mac) its tab and then select Close, or deselect it from the Window menu. • To add a panel, select it from the Window menu and dock it wherever you want. Manipulate panel groups • To move a panel into a group, drag the panel’s tab to the highlighted drop zone in the group. Adding a panel to a panel group • To rearrange panels in a group, drag a panel’s tab to a new location in the group. • To remove a panel from a group so that it floats freely, drag the panel by its tab outside the group. • To move a group, drag the title bar (the area above the tabs). Stack floating panels When you drag a panel out of its dock but not into a drop zone, the panel floats freely. The floating panel allows you to position it anywhere in the workspace. You can stack floating panels or panel groups so that they move as a unit when you drag the topmost title bar. (Panels that are part of a dock cannot be stacked or moved as a unit in this way.)
  • 26. 15 USING ADOBE ILLUSTRATOR CS4 Workspace Free-floating stacked panels • To stack floating panels, drag a panel by its tab to the drop zone at the bottom of another panel. • To change the stacking order, drag a panel up or down by its tab. Note: Be sure to release the tab over the narrow drop zone between panels, rather than the broad drop zone in a title bar. • To remove a panel or panel group from the stack, so that it floats by itself, drag it out by its tab or title bar. Resize panels • To minimize or maximize a panel, panel group, or stack of panels, double-click a tab. You can also single-click the tab area (the empty space next to the tabs). • To resize a panel, drag any side of the panel. Some panels, such as the Color panel in Photoshop, cannot be resized by dragging. Manipulate panels collapsed to icons You can collapse panels to icons to reduce clutter on the workspace. In some cases, panels are collapsed to icons in the default workspace. Panels collapsed to icons Panels expanded from icons • To collapse or expand all panel icons in a dock, click the double arrow at the top of the dock. • To expand a single panel icon, click it. • To resize panel icons so that you see only the icons (and not the labels), adjust the width of the dock until the text disappears. To display the icon text again, make the dock wider.
  • 27. 16 USING ADOBE ILLUSTRATOR CS4 Workspace • To collapse an expanded panel back to its icon, click its tab, its icon, or the double arrow in the panel’s title bar. In some products, if you select Auto-Collapse Icon Panels from the Interface or User Interface Options preferences, an expanded panel icon collapses automatically when you click away from it. • To add a floating panel or panel group to an icon dock, drag it in by its tab or title bar. (Panels are automatically collapsed to icons when added to an icon dock.) • To move a panel icon (or panel icon group), drag the icon. You can drag panel icons up and down in the dock, into other docks (where they appear in the panel style of that dock), or outside the dock (where they appear as floating, expanded panels). Restore the default workspace • Select the default workspace from the workspace switcher in the Application bar. • (Photoshop) Select Window > Workspace > Default Workspace. • (InDesign, InCopy) Select Window > Workspace > Reset [Workspace Name]. Rename or duplicate a workspace 1 Choose Window > Workspace > Manage Workspaces. 2 Do any of the following, and then click OK: • To rename a workspace, select it, and edit the text. • To duplicate a workspace, select it, and click the New button. For a video on customizing the workspace based on different workflows, see www.adobe.com/go/vid0032. Save and switch workspaces By saving the current size and position of panels as a named workspace, you can restore that workspace even if you move or close a panel. The names of saved workspaces appear in the workspace switcher in the Application bar. In Photoshop, the saved workspace can include a specific keyboard shortcut set and menu set. Save a custom workspace 1 With the workspace in the configuration you want to save, do one of the following: • (Photoshop, Illustrator) Choose Window > Workspace > Save Workspace. • (InDesign, InCopy) Choose Window > Workspace > New Workspace. • (Dreamweaver) Choose Window > Workspace Layout > New Workspace. • (Flash) Choose New Workspace from the workspace switcher in the Application bar. • (Fireworks) Choose Save Current from the workspace switcher in the Application bar. 2 Type a name for the workspace. 3 (Photoshop, InDesign) Under Capture, select one or more options: Panel Locations Saves the current panel locations. Keyboard shortcuts Saves the current set of keyboard shortcuts (Photoshop only). Menus Saves the current set of menus. 4 Click OK or Save.
  • 28. 17 USING ADOBE ILLUSTRATOR CS4 Workspace Display or switch workspaces ❖ Select a workspace from the workspace switcher in the Application bar. In Photoshop, you can assign keyboard shortcuts to each workspace to navigate among them quickly. Delete a custom workspace • Select Manage Workspaces from the workspace switcher in the Application bar, select the workspace, and then click Delete. (The option is not available in Fireworks.) • (Photoshop, InDesign, InCopy) Select Delete Workspace from the workspace switcher. • (Illustrator) Choose Window > Workspace > Manage Workspaces, select the workspace, and then click the Delete icon. • (InDesign) Choose Window > Workspace > Delete Workspace, select the workspace, and then click Delete. (Photoshop) Start with the last or default panel locations When you start Photoshop, panels can either appear in their original default locations, or appear as you last used them. In Interface preferences: • To display panels in their last locations on startup, select Remember Panel Locations. • To display panels in their default locations on startup, deselect Remember Panel Locations. Tools Tools panel overview The first time you start the application, the Tools panel appears at the left side of the screen. You can move the Tools panel by dragging its title bar. You can also show or hide the Tools panel by choosing Window > Tools. You use tools in the Tools panel to create, select, and manipulate objects in Illustrator. Some tools have options that appear when you double-click a tool. These include tools that let you use type, and select, paint, draw, sample, edit, and move images.
  • 29. 18 USING ADOBE ILLUSTRATOR CS4 Workspace You can expand some tools to show hidden tools beneath them. A small triangle at the lower-right corner of the tool icon signals the presence of hidden tools. To see the name of a tool, position the pointer over it. View hidden tools ❖ Hold down the mouse button on the visible tool. View tool options ❖ Double-click a tool. Move the Tools panel ❖ Drag its title bar. Tools panel overview A B C D F E G H I A B C D E F G H I Indicates default tool * Keyboard shortcuts appear in parenthesis Selection tools Selection (V) Direct Selection (A) Group Selection Magic Wand (Y) Lasso (Q) Artboard (Shift +O) Drawing tools Pen (P) Add Anchor Point (Shift+) Delete Anchor (-) Point Convert Anchor Point (Shift+C) Line Segment () Arc Spiral Rectangular Grid Polar Grid Rectangle (M) Rounded Rectangle Ellipse (L) Polygon Star Flare Pencil (N) Smooth Path Eraser Type tools Type (T) Area Type Type On a Path Vertical Type Vertical Area Type Vertical Type On a Path Painting tools Paintbrush (B) Blob Brush (Shift+B) Mesh (U) Gradient (G) Eyedropper (I) Measure Live Paint Bucket (K) Live Paint Selection (Shift+L) Reshaping tools Rotate (R) Reflect (O) Scale (S) Shear Reshape Warp (Shift-R) Twirl Pucker Bloat Scallop Crystallize Wrinkle Free Transform (E) Blend (W) Symbol tools Symbol Sprayer (Shift+S) Symbol Shifter Symbol Scruncher Symbol Sizer Symbol Spinner Symbol Stainer Symbol Screener Symbol Styler Graph tools Column Graph (J) Stacked Column Graph Bar Graph Stacked Bar Graph Line Graph Area Graph Scatter Graph Pie Graph Radar Graph Slicing and cutting tools Slice (Shift+K) Slice Select Eraser (Shift+E) Scissors (C) Knife Moving and zooming tools Hand (H) Print Tiling Zoom (Z)
  • 30. 19 USING ADOBE ILLUSTRATOR CS4 Workspace Hide the Tools panel ❖ Choose Window > Tools. Tear off hidden tools into a separate panel ❖ Drag the pointer over the arrow at the end of the hidden tools panel and release the mouse button. Close a separate tool panel ❖ Click the close button on the panel’s title bar. The tools return to the Tools panel. Select a tool ❖ Do one of the following: • Click a tool in the Tools panel. If there is a small triangle at a tool’s lower-right corner, hold down the mouse button to view the hidden tools, and then click the tool you want to select. • Hold down Alt (Windows) or Option (Mac OS), and then click a tool to cycle through and select hidden tools. • Press the tool’s keyboard shortcut. The keyboard shortcut is displayed in its tool tip. For example, you can select the Move tool by pressing the V key. To hide tool tips, choose Edit > Preferences > General (Windows) or Illustrator > Preferences > General (Mac OS), and deselect Show Tool Tips. Selecting a hidden tool A. Tools panel B. Active tool C. Tear off panel with hidden tools D. Hidden tool triangle E. Tool name and shortcut Change tool pointers The mouse pointer for most tools matches the tool’s icon. Each pointer has a different hotspot, where an effect or action begins. With most tools, you can switch to precise cursors, which appear as cross hairs centered around the hotspot, and provide for greater accuracy when working with detailed artwork. ❖ Choose Edit > Preferences > General (Windows) or Illustrator > Preferences > General (Mac OS), and select Use Precise Cursors. Alternatively, press Caps Lock on the keyboard. A B D E C
  • 31. 20 USING ADOBE ILLUSTRATOR CS4 Workspace Tool galleries Illustrator provides many tools for creating and manipulating your artwork. These galleries provide a quick visual overview for each tool. Selection tool gallery Illustrator provides the following selection tools: See also “Keys for selecting” on page 464 Drawing tool gallery Illustrator provides the following drawing tools: The Selection tool (V) selects entire objects. The Direct Selection tool (A) selects points or path segments within objects. The Group Selection tool selects objects and groups within groups. The Magic Wand tool (Y) selects objects with similar attributes. The Lasso tool (Q) selects points or path segments within objects. The Artboard tool creates separate artboards for printing or export.
  • 32. 21 USING ADOBE ILLUSTRATOR CS4 Workspace The Pen tool (P) draws straight and curved lines to create objects. The Add Anchor Point tool (+) adds anchor points to paths. TheDeleteAnchorPointtool (-) deletes anchor points from paths. The Convert Anchor Point tool (Shift+C) changes smooth points to corner points and vice versa. The Line Segment tool () draws individual straight line segments. The Arc tool draws individualconcaveorconvex curve segments. The Spiral tool draws clockwise and counterclockwise spirals. The Rectangular Grid tool draws rectangular grids. The Polar Grid tool draws circular chart grids. The Rectangle tool (M) draws squares and rectangles. The Rounded Rectangle tool drawssquaresandrectangles with rounded corners. The Ellipse tool (L) draws circles and ovals. The Polygon tool draws regular, multi-sided shapes. The Star tool draws stars. The Flare tool creates lens- flare or solar-flare-like effects. The Pencil tool (N) draws and edits freehand lines.
  • 33. 22 USING ADOBE ILLUSTRATOR CS4 Workspace Type tool gallery Illustrator provides the following type tools: Painting tool gallery Illustrator provides the following painting tools: The Smooth tool smooths Bezier paths. The Path Eraser tool erases paths and anchor points from the object. The Type tool (T) creates individual type and type containers and lets you enter and edit type. The Area Type tool changes closed paths to type containers and lets you enter and edit type within them. The Type On A Path tool changes paths to type paths, and lets you enter and edit type on them. The Vertical Type tool creates vertical type and vertical type containers and lets you enter and edit vertical type. The Vertical Area Type tool changes closed paths to vertical type containers and lets you enter and edit type within them. The Vertical Type On A Path tool changes paths to vertical type paths and lets you enter and edit type on them.
  • 34. 23 USING ADOBE ILLUSTRATOR CS4 Workspace Reshaping tool gallery Illustrator provides the following tools for reshaping objects: The Paintbrush tool (B) draws freehand and calligraphic lines, as well as art and patterns on paths. The Mesh tool (U) creates and edits meshes and mesh envelopes. The Gradient tool (G) adjusts the beginning and ending points and angle of gradients within objects, or applies a gradient to objects. The Eyedropper tool (I) samples and applies color, type, and appearance attributes, including effects, from objects. The Live Paint Bucket tool (K) paints faces and edges of Live Paint groups with the current paint attributes. The Live Paint Selection (Shift-L)tool selects faces and edges within Live Paint groups. The Measure tool measures the distance between two points. The Blob Brush tool (Shift- B)draws paths that automatically expand and merge calligraphic brush paths that share the same color and are adjacent in stacking order. The Rotate tool (R) rotates objects around a fixed point. The Reflect tool (O) flips objects over a fixed axis. The Scale tool (S) resizes objects around a fixed point. The Shear tool skews objects around a fixed point.
  • 35. 24 USING ADOBE ILLUSTRATOR CS4 Workspace Symbolism tool gallery The symbolism tools let you create and modify sets of symbol instances. You create a symbol set using the Symbol Sprayer tool. You can then use the other symbolism tools to change the density, color, location, size, rotation, transparency, and style of the instances in the set. The Reshape tool adjusts selected anchor points while keeping the overall detail of the path intact. The Free Transform tool (E) scales, rotates, or skews a selection. The Blend tool (W) creates a series of objects blended between the color and shape of multiple objects. The Warp tool (Shift+R) molds objects with the movement of the cursor (like molding clay, for example). The Twirl tool creates swirling distortions within an object. The Pucker tool deflates an object by moving control points towards the cursor. The Bloat tool inflates an object by moving control points away from the cursor. The Scallop tool adds random curved details to the outline of an object. The Crystallize tool adds random spiked details to the outline of an object. The Wrinkle tool adds wrinkle-like details to the outline of an object.
  • 36. 25 USING ADOBE ILLUSTRATOR CS4 Workspace Graph tool gallery Illustrator provides nine graph tools, each one for creating a different type of graph. The type of graph you choose depends on the information you want to communicate. The Symbol Sprayer tool (Shift+S) places multiple symbol instances as a set on the artboard. The Symbol Shifter tool moves symbol instances The Symbol Scruncher tool moves symbol instances closer together or farther apart. The Symbol Sizer tool resizes symbol instances. The Symbol Spinner tool rotates symbol instances. The Symbol Stainer tool colorizes symbol instances. The Symbol Screener tool applies opacity to symbol instances. The Symbol Styler tool applies the selected style to symbol instances. The Column Graph tool (J) creates graphs that compare values using vertical columns. The Stacked Column Graph tool creates graphs that are similar to column graphs, but stacks the columns on top of one another, instead of side by side. This graph type is useful for showing the relationship of parts to the total. The Bar Graph tool creates graphs that are similar to column graphs, but positions the bars horizontally instead of vertically. The Stacked Bar Graph tool creates graphs that are similar to stacked column graphs, but stacks the bars horizontally instead of vertically. 0 10 20 30 40 50 60 70 80 B A 0 20 40 60 80 100 B A 0 1020304050607080 B A 0 20 40 60 80 100 B A
  • 37. 26 USING ADOBE ILLUSTRATOR CS4 Workspace Slicing and cutting tool gallery Illustrator provides the following tools for slicing and cutting objects: The Line Graph tool creates graphs that use points to represent one or more sets of values, with a different line joining the points in each set. This type of graph is often used to show the trend of one or more subjects over a period of time. The Area Graph tool creates graphs that are similar to line graphs, but emphasizes totals as well as changes in values. The Scatter Graph tool creates graphs that plot data points as paired sets of coordinatesalongthexandy axes. Scatter graphs are useful for identifying patterns or trends in data. They also can indicate whether variables affect one another. The Pie Graph tool creates circular graphs whose wedges represent the relative percentages of the values compared. The Radar Graph tool creates graphs that compare sets of values at given points in time or in particular categories, and is displayed in a circular format. This type of graph is also called a web graph. The Slice tool divides artwork into separate web images. The Slice Selection tool (Shift-K) selects web slices. The Eraser tool (Shift-E) erases any area of the object over which you drag. The Scissors tool (C) cuts paths at specified points. 20 30 40 50 60 70 80 50 40 30 20 10 0 20 40 60 80 100 10 20 30 40 50 0 10 20 30 40 50 D C B A 10 20 30 40 50
  • 38. 27 USING ADOBE ILLUSTRATOR CS4 Workspace Moving and zooming tool gallery Illustrator provides the following tools for moving around in and controlling the view of the artboard: Files and templates About new document profiles A document is the space in which you create artwork. In Illustrator, you can create documents destined for many different types of output. (For information on creating Illustrator documents for video production, see the Enhancing Video Production PDF at www.adobe.com/go/learn_ai_video. You start a new document by choosing a new document profile based on your intended output. Each profile includes preset values for size, color mode, units, orientation, transparency, and resolution. All use one artboard, by default. For example, the Video And Film Document profile uses pixels instead of points, and you can choose a device-specific crop area, such as NTSC DV Widescreen, to create a document in the exact dimensions required, with video-safe guides in place to help you lay out your design for optimal viewing. If you plan to output your file to a high-end printer, for example if you’re sending it to a service bureau, specify the Print profile to ensure your artwork and any effects applied to the artwork are set to the proper resolution. You can choose from the following profiles: Print Document Uses a default letter size artboard, and provides a variety of other preset print sizes to choose from. Use this profile if you plan to send this file to a service bureau for output to a high-end printer. The Knife tool cuts objects and paths. TheHandtool(H)movesthe Illustrator artboard within the illustration window. The Print Tiling tool adjusts the page grid to control where artwork appears on the printed page. The Zoom tool (Z) increases and decreases the view magnification in the illustration window.
  • 39. 28 USING ADOBE ILLUSTRATOR CS4 Workspace Web Document Provides preset options optimized for output to the web. Mobile And Devices Document Creates a small file size that is preset for a specific mobile device. You can choose your device from the Size menu. Click Device Central to open Adobe Device Central and view the document layout in a specified device interface. Video And Film Document Provides several preset video- and film-specific crop area sizes (note that the Artboard option changes to Crop Size for this profile). Illustrator creates only square pixel files, so to ensure that the sizes are interpreted correctly in video applications, Illustrator adjusts the Width and Height values. For example, if you choose NTSC DV Standard, Illustrator uses a pixel size of 654 x 480, which translates to 740 x 480 pixels in video-based applications. Basic CMYK Document Uses a default letter size artboard, and provides a variety of other sizes to choose from. Use this profile if you plan to send a document to multiple types of media. If one of the media types is a service bureau, you’ll want to manually increase the Raster Effects setting to High. Basic RGB Document Uses a default 800 x 600 size artboard, and provides a variety of other print-, video-, and web- specific sizes to choose from. Do not use this option if you plan to send a document to a service bureau or output to a high-end printer. Use this profile for documents that will be output to mid-level printers, to the web, or multiple types of media. For a video on setting up new documents, see www.adobe.com/go/vid0031. See also New document video Video production Create new documents You can create new Illustrator documents from a new document profile or from a template. Creating a document from a new document profile gives you a blank document with the selected profile’s default fill and stroke colors, graphic styles, brushes, symbols, actions, viewing preferences, and other settings. Creating a document from a template gives you a document with preset design elements and settings, as well as content, such as cropmarks and guides, for specific document types, such as brochures or CD covers. You create a new document from the Welcome screen, or by using File > New or File > Device Central (for mobile device output). The Welcome screen appears whenever a document is not currently open. For a video on setting up new documents, see www.adobe.com/go/vid0031. See also “About new document profiles” on page 27 “About templates” on page 30 “About transparency” on page 174 “Using Adobe Device Central with Illustrator” on page 370 Create a new document You can start a new document from the Welcome screen or from the File menu. 1 Do one of the following: • If Illustrator is already open, choose File > New and choose a New Document Profile in the New Document menu.
  • 40. 29 USING ADOBE ILLUSTRATOR CS4 Workspace • If the Welcome screen is open, click a document profile from the Create New list. • If Illustrator is not open, open it and click a document profile from the Create New list in the Welcome screen. Note: In the Welcome screen, you can Alt-click (Windows) or Option-click (Mac OS) to open the new document directly and skip the New Document dialog box. 2 Type a name for your document. 3 Specify the number of artboards for your document, and the order you’d like them laid out on screen: Grid By Row Arranges multiple artboards in the specified number of rows. Choose the number of rows from the Rows menu. The default value creates the most square appearance possible with the specified number of artboards. Grid By Column Arranges multiple artboards in the specified number of columns. Choose the number of columns from the Columns menu. The default value creates the most square appearance possible with the specified number of artboards. Arrange By Row Arranges artboards in one straight row. Arrange By Column Arranges artboards in one straight column. Change To Right-To-Left Layout Arranges multiple artboards in the specified row or column format, but displays them from right to left. 4 Specify the default spacing between artboards. This setting applies to both horizontal and vertical spacing. 5 Specify the default size, units of measure, and layout for all artboards. Note: Once your document opens, you can customize your artboards by moving and resizing them as desired. 6 Specify the position of the bleed along each side of the artboard. To use different values for different sides, click the Lock icon . 7 Click Advanced to specify the following additional options: Note: You can change these settings after you create the document by choosing File > Document Setup and specifying new settings. Color Mode Specifies the color mode for the new document. Changing the color mode converts the default contents (swatches, brushes, symbols, graphic styles) of the selected new document profile to a new color mode, resulting in a color change. Watch for a warning icon when making changes. Raster Effects Specifies the resolution for raster effects in the document. It is especially important to set this at High when you plan to output to a high-end printer at high resolution. The Print profile sets this at High by default. Transparency Grid Specifies the options for the transparency grid for documents that use the Video And Film profile. Preview Mode Sets the default preview mode for the document (you can change this at any time by using the View menu): • Default displays artwork created in the document in vector view with full color. Zoom in/out retains smoothness in the curves. • Pixel displays artwork with a rasterized (pixilated) appearance. It does not actually rasterize the content, but displays a simulated preview, as if the contents were rasters. • Overprint provides an “ink preview” that approximates how blending, transparency, and overprinting will appear in color-separated output. (See “About overprinting” on page 426.) Device Central If you’ve created a document using the Mobile and Devices profile, you can click Device Central to preview your new document in the mobile device interface.
  • 41. 30 USING ADOBE ILLUSTRATOR CS4 Workspace Create a new document from a template 1 Do one of the following: • Choose File > New From Template. • Choose File > New. In the New Document dialog box, click Templates. • In the Welcome screen, click From Template in the Create New list. 2 In the New From Template dialog box, locate and select a template, and click New. About templates Templates let you create new documents that share common settings and design elements. For example, if you need to design a series of business cards with a similar look and feel, you can create a template with the desired artboard size, view settings (such as guides), and print options. The template can also contain symbols for common design elements (such as logos) and specific sets of color swatches, brushes, and graphic styles. Illustrator comes with a variety of templates, including templates for letterhead, business cards, envelopes, brochures, labels, certificates, postcards, greeting cards, and websites. When a template is selected via the New From Template command, Illustrator creates a new document with identical content and document settings as the template, but leaves the original template file untouched. See also “Create new documents” on page 28 Create a new template 1 Open a new or existing document. 2 Customize the document in any of the following ways: • Set up the document window as you want it to appear in new documents you create from the template. This includes the magnification level, scroll position, ruler origin, guides, grids, crop areas, and options in the View menu. • Draw or import any artwork you want to appear in new documents you create from the template. • Delete any existing swatches, styles, brushes, or symbols, you don’t want to retain. • Create any new swatches, styles, brushes, and symbols, you want in the corresponding panels. You can also import preset swatches, styles, brushes, symbols, and actions from a variety of libraries that come with Illustrator. • Create any graph designs you want and add them to the Graph Design dialog box. You can also import preset graph designs. • Set the desired options in the Document Setup dialog box and Print Options dialog box. 3 Choose File > Save As Template. 4 In the Save As dialog box, select a location for the file, enter a filename, and click Save. Illustrator saves the file in AIT (Adobe Illustrator Template) format.
  • 42. 31 USING ADOBE ILLUSTRATOR CS4 Workspace Specify document setup options At any point you can change your document’s default setup options for units of measure, transparency grid display, background color, and type settings such as language, quote style, superscript and subscript size, and exportability. The Edit Artboards button closes this dialog box and activates the Artboard tool. Use this button if you want to modify your artboards. 1 Choose File > Document Setup or click the Document Setup button in the Control panel (this button is visible when nothing is selected). 2 Specify options as desired. Note: The Simulate Colored Paper option is useful if you plan to print the document on colored paper. For example, if you draw a blue object on a yellow background, the object appears green. The simulation is performed only when the transparency grid is not shown. For specific information on these options, see related topics. See also “Change the unit of measurement” on page 43 “View transparency in artwork” on page 174 “Specify curly or straight quotes” on page 312 “Creating superscripts or subscripts” on page 313 Open a file You can open files that were created in Illustrator as well as files that were created in other applications. • To open an existing file, choose File > Open. Locate the file, and click Open. • To open a recently saved file, choose the file from the Open A Recent Item list in the Welcome screen, or choose File > Open Recent Files, and choose a file from the list. • To open and preview a file using Adobe Bridge, choose File > Browse In Bridge to open Adobe Bridge. Locate the file and choose File > Open With > Adobe Illustrator CS4. See also “Adobe Version Cue” on page 32 “Importing Adobe PDF files” on page 260 “Importing EPS files” on page 261 “Importing artwork from Photoshop” on page 263 Browse for files using Adobe Bridge Adobe® Bridge is a cross-platform application included with Adobe® Creative Suite® 4 components that helps you locate, organize, and browse the assets you need to create print, web, video, and audio content. You can start Bridge from any Creative Suite component, and use it to access both Adobe and non-Adobe asset types. ❖ To open Adobe Bridge, do one of the following from within Illustrator: • Choose File > Browse In Bridge. • Click the Adobe Bridge icon in the Control panel.
  • 43. 32 USING ADOBE ILLUSTRATOR CS4 Workspace • Choose Reveal In Bridge from the status bar. From Adobe Bridge, you can do any of the following: • Manage image, footage, and audio files: Preview, search, sort, and process files in Bridge without opening individual applications. You can also edit metadata for files, and use Bridge to place files into your documents, projects, or compositions. • Manage your photos: Import and edit photos from your digital camera card, group related photos in stacks, and open or import Photoshop® Camera Raw files and edit their settings without starting Photoshop. • Work with Adobe Version Cue®-managed assets. • Perform automated tasks, such as batch commands. • Synchronize color settings across color-managed Creative Suite components. • Start a real-time web conference to share your desktop and review documents. See also “Adobe Version Cue” on page 32 Adobe Version Cue Adobe Version Cue® CS4 is an asset management system that lets designers work collaboratively on a set of common files without having to change their workflow significantly. Designers can easily track and manipulate multiple versions of files. Version Cue handles the following tasks: • Creating versions of your files • Enabling workgroup collaboration (file sharing, version control, the ability to check files in and out) • Organizing files into private or shared projects • Providing thumbnails so you can browse and view files • Organizing data so you can view and search on file information, version comments, and file status • Creating and managing user access, projects, and PDF reviews by way of Version Cue Server Administration Version Cue consists of two pieces: the Adobe Version Cue Server and Adobe Drive. Adobe Version Cue Server The Version Cue Server can be installed locally or on a dedicated computer. It hosts Version Cue projects and PDF reviews. Adobe Drive Adobe Drive connects to Version Cue CS4 servers. The connected server appears like a hard drive or mapped network drive in Windows Explorer, Mac OS Finder, and dialog boxes such as Open and Save As. Note: The “Use Adobe Dialog” option that appears in CS3 applications does not appear in CS4 applications. This option is no longer necessary. Connecting to the Version Cue Server using Adobe Drive lets you view project files from any application. Version Cue is included with Adobe Creative Suite 4 Design Premium and Standard, Adobe Creative Suite 4 Web Premium and Standard, Adobe Creative Suite 4 Production Premium, and Adobe Creative Suite 4 Master Collection. Version Cue enables versioning and asset management in all applications, but it includes enhanced features for the following products: Adobe Flash®, Adobe Illustrator®, Adobe InDesign®, Adobe InCopy®, Adobe Photoshop®, and Adobe Bridge. When you use any of these applications to open a file stored on a Version Cue server, the file is checked out automatically. For all other applications, use the context menu to check in and check out files manually.
  • 44. 33 USING ADOBE ILLUSTRATOR CS4 Workspace For a video on Version Cue, see www.adobe.com/go/lrvid4038_vc. For Version Cue Help, see www.adobe.com/go/learn_vc_versioncuehelp_cs4. See also Version Cue Help Version Cue video Manage connections to web services In Adobe® Creative Suite® 4, the Connections panel lets you manage connections to web services and the locally installed extensions that interact with them. The Connections panel itself is an extension. Additional extensions installed with Creative Suite applications include the following: Adobe ConnectNow Collaborate with dispersed working teams over the web, sharing voice, data, and multimedia. Kuler™ panel Quickly create, share, and explore color themes online. Search for Help In the upper-right corner of applications, enter search terms to access in-depth Help from Adobe, plus additional content from the design and production communities. Visit Adobe.com to learn about additional services and extensions. Log into Adobe web services Regardless of which application you use to access the Connections panel, logging in automatically connects you to services such as ConnectNow meetings. 1 In Adobe InDesign, Photoshop, Illustrator, Flash, Fireworks, or Dreamweaver, choose Window > Extensions > Connections. 2 Enter your Adobe ID and password. (If you lack an ID or can’t remember it, click the appropriate link.) 3 (Optional) To remain logged in when you restart the computer, select Remember Me On This Computer. 4 Click Log In. Disable automatic extension updates By default, the Connections panel automatically updates installed extensions. However, you can disable automatic updates and instead check for them manually. 1 From the Connections panel menu , select Update Preferences. 2 Deselect Check For Updates Automatically. 3 Restart any open Adobe Creative Suite applications. Manually check for updated extensions ❖ From the Connections panel menu , select Check For Updates. Disable web services If your work environment disallows online connections, disable web services. 1 From the Connections panel menu , select Offline Options. 2 Select Keep Me Offline.
  • 45. 34 USING ADOBE ILLUSTRATOR CS4 Workspace 3 Restart any open Adobe Creative Suite applications. To disable the Connections panel and web services only in Photoshop, deselect Allow Extensions To Connect in the Plug-Ins section of the Preferences dialog box. Working with ConnectNow Working with ConnectNow Adobe® ConnectNow provides you with a secure, personal online meeting room where you can meet and collaborate with others via the web in real time. With ConnectNow, you can share and annotate your computer screen, send chat messages, and communicate using integrated audio. You can also broadcast live video, share files, capture meeting notes, and control an attendee's computer. You can access ConnectNow directly from the application interface. 1 Choose File > Share My Screen. 2 In the Share My Screen dialog box, enter your Adobe ID and password, and click Sign In. If you don’t have an Adobe ID and password, click the Create a Free Adobe ID link at the top of the dialog box. 3 To share your screen, click the Share My Computer Screen button at the center of the ConnectNow application window. For complete instructions on using ConnectNow, see http://help.adobe.com/en_US/Acrobat.com/ConnectNow/index.html. Using multiple artboards Artboard overview Artboards represent the regions that can contain printable artwork. You can use artboards as crop areas for printing or placement purposes—they work the same way as crop areas work in Illustrator CS3. Multiple artboards are useful for creating a variety of things such as multiple page PDFs, printed pages with different sizes or different elements, independent elements for websites, video storyboards, or individual items for animation in Adobe Flash or After Effects. Note: If you created crop areas in a Illustrator CS3 document, the crop areas will be converted to artboards in CS4. You may be prompted to specify how you want the crop areas to convert. You can have 1 to 100 artboards per document depending on size. You can specify the number of artboards for a document when you first create it, and you can add and remove artboards at any time while working in a document. You can create artboards in different sizes, resize them by using the Artboard tool , and position them anywhere on the screen—even overlapping one another. To see a video on using multiple artboards, see www.adobe.com/go/lrvid4016_ai. Viewing artboards and the canvas You can view the page boundaries in relation to an artboard by showing print tiling (View > Show Print Tiling). When print tiling is on, the printable and nonprintable areas are represented by a series of solid and dotted lines between the outermost edge of the window and the printable area of the page.
  • 46. 35 USING ADOBE ILLUSTRATOR CS4 Workspace Each artboard is bounded by solid lines and represents the maximum printable area. To hide the artboard boundaries, choose View > Hide Artboards. The canvas is the area outside the artboard that extends to the edge of the 220 inch square window. The canvas represents a space on which you can create, edit, and store elements of artwork before moving them onto an artboard. Objects placed onto the canvas are visible on-screen, but they do not print. To center an artboard and zoom it to fit the screen, click the artboard number in the status bar, located at the bottom of the application window. Illustration window A. Printable area (determined by the specified printer) B. Canvas C. Artboard Printing and exporting artboards All artboards in a document share the same media type format, such as Print. You can print each artboard individually, tiled, or combined into one page. If you save a multiple-artboard Illustrator document to a previous version of Illustrator, such as CS3, you can choose to save each artboard as a separate file, along with a master file that includes all artboards merged. You can preview artboards from the print dialog before printing them. The print settings you choose are applied to all of the artboards you selected to print. By default all artwork is cropped to an artboard and all artboards print as individual pages. Use the Range option in the Print dialog box to print specific pages, select Ignore Artboards and specify placement options to combine all art onto a single page or tile the artwork as desired. See also “Change the page size and orientation” on page 405 “Reposition artwork on the page” on page 403 “Tile artwork on multiple pages” on page 404 Artboard options You open the Artboard Options dialog box by double-clicking the Artboard tool , or clicking the Artboard tool and then clicking Artboard Options button in the Control panel. Preset Specifies artboard dimensions. These presets set the ruler Pixel Aspect Ratio appropriately for the specified output. A B C
  • 47. 36 USING ADOBE ILLUSTRATOR CS4 Workspace Width and Height Specifies the size of the artboard. Orientation Specifies portrait or landscape page orientation. Constrain Proportions Keeps the aspect ratio of the artboard intact if you manually resize it. X: and Y: Position Specifies the position of the artboard according to Illustrator’s workspace rulers. To view these rulers, choose View > Show Rulers. Show Center Mark Displays a point in the center of the artboard. Show Cross Hairs Displays cross lines through the center of each side of the artboard. Show Video Safe Areas Displays guides that represent the areas that fall inside the viewable area of video. You want to keep all text and art that must be viewable to users inside the video safe areas. Ruler Pixel Aspect Ratio Specifies the pixel aspect ratio used for the artboard rulers. Fade Region Outside Artboard Displays the area outside of the artboard a darker shade than the area inside the artboard when the Artboard tool is active. Update While Dragging Keeps the area outside of the artboard darker as you drag to resize the artboard. If this is not selected, the outside area displays in the same color as inside the artboard while resizing. Artboards Indicates how many artboards exist. Create an artboard 1 Do any of the following: • To create a custom artboard, select the Artboard tool , and drag in the workspace to define the shape, size, and location. • To use a preset artboard, double-click the Artboard tool, select a preset in the Artboard Options dialog box, and click OK. Drag the artboard to position it where you want. • To create an artboard within an active artboard, hold down Shift and drag using the Artboard tool. • To duplicate an existing artboard, select the Artboard tool, click to select the artboard you want to duplicate, and click the New Artboard button in the Control panel ; then click where you want to place the duplicated artboard. To create multiple duplicates, Alt-click as many times as you want. Or, using the Artboard tool, Alt-drag (Windows) or Option-drag (Mac OS) the artboard you want to duplicate. • To duplicate an artboard with the contents, select the Artboard tool, click to select the Move/Copy Artwork With Artboard icon on the Control panel , press Alt (Windows) or Option (Mac OS), and then drag. If you want the artwork to contain a bleed, make sure that there’s enough artwork beyond the artboard rectangle to accommodate the bleed. 2 To commit the artboard and exit the artboard-editing mode, click a different tool in the Tools panel or click Esc. To see a video on using multiple artboards, see www.adobe.com/go/lrvid4016_ai.
  • 48. 37 USING ADOBE ILLUSTRATOR CS4 Workspace Edit or delete artboards You can create multiple artboards for your document, but only one can be active at a time. When you have multiple artboards defined, you can view them all by selecting the Artboard tool. Each artboard is numbered for easy reference. You can edit or delete an artboard at any time, and you can specify different artboards each time you print or export. ❖ Select the Artboard tool , and then do any of the following: • To set an artboard as the active artboard, click it. (Clicking in or drawing over an artboard using a different tool will also make the artboard tool active.) If artboards overlap, the artboard with the left edge closest to the click location becomes the active artboard. • To resize an artboard, position the pointer on an edge or corner until the cursor changes to a double-sided arrow, and then drag to adjust. Or, specify new Width and Height values in the Control panel. • To move an artboard and its contents, click to select the Move/Copy Artwork With Artboard icon on the Control panel , and then position the pointer in the artboard and drag. Or, specify new X and Y values in the Control panel. • To move an artboard without its contents, click to deselect the Move/Copy Artwork With Artboard icon on the Control panel, and then position the pointer in the artboard and drag. Or, specify new X and Y values in the Control panel. • To delete an artboard, click the artboard and press Delete, click Delete in the Control panel, or click the Delete icon in an artboard’s upper-right corner. You can delete all but the last remaining artboard. • To rotate between artboards, press Alt (Windows) or Option (Mac OS) and click an arrow key. • To view artboards and their contents as outlines, right-click and choose Outline. To see artwork again, right-click and choose Preview. Display artboard rulers, center mark, crosshairs, or safe area You can choose to display a center mark, cross hairs, video safe markers, and rulers around an artboard. Rulers are useful when you’re working with art intended for export to video. The numbers on the rulers reflect device-specific pixels, regardless of the measurement unit specified in preferences. The default Pixel Aspect Ratio (PAR) for Illustrator is 1.0 (for square pixels)—this value changes according to the preset you choose either in the Artboard Options dialog box or the New Document dialog box. If you’re using nonsquare pixels, the ruler provides for easier device-specific pixel calculations. For example, if you specify an artboard of 100 x100 Illustrator points, and you want to know the exact size in device-dependent pixels before exporting the file for use in a NTSC DV Widescreen, you can set the artboard ruler in Illustrator to use a pixel aspect ratio of 1.2 (for wide pixels) and the ruler will reflect the change and display the artboard as 83 x100 device pixels (100/1.2 = 83.333).
  • 49. 38 USING ADOBE ILLUSTRATOR CS4 Workspace Artboard with rulers Show or hide artboard rulers 1 Choose View > Show Artboard Rulers or Hide Artboard Rulers. 2 (Optional) Set a value for Ruler Pixel Aspect Ratio in the Artboard Options dialog box. (To open this dialog box, double-click the Artboard tool.) Display center mark, cross hairs, or video safe areas 1 Double-click the Artboard tool in the Tools panel, or, with the Artboard tool active, click the Artboard Options icon in the Control panel. 2 In the Display section, select the options you’d like displayed in your artboards. Note: You can also set or remove the center point by clicking the Show Center Mark icon in the Control panel. Viewing artwork Specify Document Setup options At any point you can change your document’s default setup options for units of measure, transparency grid display, background color, and type settings such as language, quote style, superscript and subscript size, bleeds, and exportability. The Edit Artboards button closes this dialog box and activates the Artboard tool. 1 Choose File > Document Setup, or click the Document Setup button in the Control panel. (This button is available when nothing is selected.) 2 Specify options as desired. 3 If you want to edit artboards, click Edit Artboards to enter artboard editing mode. The Simulate Colored Paper option is useful if you plan to print the document on colored paper. For example, if you draw a blue object on a yellow background, the object appears green. The simulation is only performed when the transparency grid is not shown. See also “Change the unit of measurement” on page 43 “View transparency in artwork” on page 174
  • 50. 39 USING ADOBE ILLUSTRATOR CS4 Workspace “Specify curly or straight quotes” on page 312 “Creating superscripts or subscripts” on page 313 About print tiling By default, Illustrator prints each artboard on a single sheet of paper. However, if the artwork is larger than the page sizes available on your printer, you can print onto multiple sheets of paper. Dividing an artboard to fit a printer’s available page sizes is called tiling. You can choose a tiling option in the General section of the Print dialog box. To view the print tiling boundaries on the artboard, choose View > Show Print Tiling. Artboard divided into multiple page tiles When you divide the artboard into multiple tiles, the pages are numbered from left to right and from top to bottom, starting with page 1. These page numbers appear on-screen for your reference only; they do not print. The numbers enable you to print all of the pages in the file or specify particular pages to print. See also “Change the page size and orientation” on page 405 “Tile artwork on multiple pages” on page 404 Zoom in or out There are several ways to zoom in or out of artwork. • Select the Zoom tool . The pointer becomes a magnifying glass with a plus sign in its center. Click in the center of the area that you want to magnify, or hold down Alt (Windows) or Option (Mac OS) and click in the center of the area that you want to reduce. Each click magnifies or reduces the view to the previous preset percentage. • Select the Zoom tool and drag a dotted rectangle, called a marquee, around the area you want to magnify. To move the marquee around the artwork, hold down the spacebar, and continue dragging to move the marquee to a new location. • Choose View > Zoom In or View > Zoom Out. Each click magnifies or reduces the view to the next preset percentage. • Set the zoom level at the lower-left corner of the main window or in the Navigator panel. • To display a file at 100%, choose View > Actual Size, or double-click the Zoom tool. • To fill the window with the selected artboard, choose View > Fit Artboard In Window, or double-click the Hand tool.
  • 51. 40 USING ADOBE ILLUSTRATOR CS4 Workspace • To view everything in the window, choose View > Fit All In Window. See also “Moving and zooming tool gallery” on page 27 “Keys for viewing artwork” on page 462 Change the view area You can bring a different area of the artboard into view by doing any of the following: • Choose View > Actual Size to see all of your artboards in actual size. • Choose View > Fit All In Window to zoom out so that all artboards are visible in on the screen. • Choose View > Fit Artboard In Window to zoom in on the active artboard. • In the Navigator panel, click the area of the thumbnail display that you want to view in the illustration window. Alternatively, drag the proxy view area (the colored box) to a different area of the thumbnail display. • Select the Hand tool , and drag in the direction you want the artwork to move. To specify the quality of the display when using the Hand tool, choose Edit > Preferences > Units & Display Performance (Windows) or Illustrator > Preferences > Units & Display Performance (Mac OS). Drag the Hand Tool slider left to improve the quality of the view when you move it with the Hand tool, or right to improve the speed at which you can move the view with the Hand tool. See also “Moving and zooming tool gallery” on page 27 “Keys for viewing artwork” on page 462 Navigator panel overview You use the Navigator panel (Window > Navigator) to quickly change the view of your artwork using a thumbnail display. The colored box in the Navigator (called the proxy view area) corresponds to the currently viewable area in the illustration window. Navigator panel A. Thumbnail display of artwork B. Panel menu button C. Zoom box D. Zoom Out button E. Proxy preview area F. Zoom slider G. Zoom In button You can customize the Navigator panel in the following ways: • To display artwork outside the boundaries of the artboard in the Navigator panel, click View Artboard Contents Only from the panel menu to deselect it. A C D E F G B
  • 52. 41 USING ADOBE ILLUSTRATOR CS4 Workspace • To change the color of the proxy view area, select panel Options from the panel menu. Select a preset color from the Color menu, or double-click the color box to choose a custom color. • To display dashed lines in the document as solid lines in the Navigator panel, select panel Options from the panel menu and select Draw Dashed Lines As Solid Lines. See also “Manage windows and panels” on page 12 View artwork as outlines By default, Adobe Illustrator sets the view so that all artwork is previewed in color. However, you can choose to display artwork so that only its outlines (or paths) are visible. Viewing artwork without paint attributes speeds up the time it takes to redraw the screen when working with complex artwork. In Outline mode, linked files are displayed by default as outlined boxes with an X inside. To view the contents of linked files, choose File > Document Setup, and select Show Images In Outline Mode. • To view all artwork as outlines, choose View > Outline. Choose View > Preview to return to previewing artwork in color. • To view all artwork in a layer as outlines, Ctrl-click (Windows) or Command-click (Mac OS) the eye icon for the layer in the Layers panel. Ctrl-click (Windows) or Command-click (Mac OS) again to return to previewing artwork in color. The eye icon has a hollow center when Outline view is enabled and a filled center when Preview view is enabled. • To view all items in unselected layers as outlines, Alt+Ctrl-click (Windows) or Option+Command-click (Mac OS) the eye icon for the selected layer. Alternatively, select Outline Others from the Layers panel menu. You can return all items in the Layers panel to Preview mode by choosing Preview All Layers from the Layers panel menu. See also “Layers panel overview” on page 212 Use multiple windows and views You can open multiple windows of a single document at the same time. Each window can have different view settings. For example, you can set one window highly magnified for doing close-up work on some objects and create another window less magnified for laying out those objects on the page. (Windows) You can arrange multiple open windows to suit your needs, using options from the Window menu. Cascade displays windows stacked and descending from the upper-left to the lower-right of the screen; Tile displays windows edge to edge; Arrange Icons organizes minimized windows within the program window. An alternative to creating multiple windows is creating multiple views. You can create and store up to 25 views for each document. Multiple windows and multiple views differ in the following ways: • Multiple views are saved with the document, multiple windows are not. • Multiple windows can be viewed at the same time. • Multiple views can appear at the same time only if multiple windows are opened to display them in. Changing a view alters the current windows, it does not open a new one.
  • 53. 42 USING ADOBE ILLUSTRATOR CS4 Workspace Create a new window ❖ Choose Window > New Window. Create a new view ❖ Set up the view as you want, and then choose View > New View, enter a name for the new view, and click OK. Rename or delete a view ❖ Choose View > Edit Views. Switch between views ❖ Select a view name from the bottom of the View menu. Previewing artwork in its final output medium Illustrator provides the following ways to preview how aspects of artwork will look when printed or viewed on the web or a mobile device: Overprint Preview mode (View > Overprint Preview) Provides an “ink preview” that approximates how blending, transparency, and overprinting will appear in color-separated output. Separations Preview mode (Window > Separations Preview) Provides a preview of how the separations will look when printed. Pixel Preview mode (View > Pixel Preview) Approximates how your artwork will appear when it is rasterized and viewed in a web browser. Flattener Preview panel (Window > Flattener Preview) Highlights areas of the artwork that meet certain criteria for flattening when saved or printed. Soft-proofs Approximate how your document’s colors will appear on a particular type of monitor or output device. Anti-aliasing Gives vector objects a smoother on-screen appearance and provides a better idea of how vector artwork will look when printed on a PostScript® printer. Anti-aliasing is helpful because screen resolution is relatively limited, but vector artwork is often printed at a high resolution. To turn on anti-aliasing, choose Edit > Preferences > General (Windows) or Illustrator > Preferences > General (Mac OS), select Anti-aliased Artwork, and click OK. Device Central (File > Device Central) Lets you preview how your document will appear on a particular mobile phone or device. See also “About overprinting” on page 426 “About pixel preview mode” on page 369 “Soft-proof colors” on page 136 “Save For Web & Devices overview” on page 382 “Using Adobe Device Central with Illustrator” on page 370 “Preview which areas of artwork will be flattened” on page 422
  • 54. 43 USING ADOBE ILLUSTRATOR CS4 Workspace Rulers, grids, guides, and crop marks Use rulers Rulers help you accurately place and measure objects in the illustration window or in an artboard. The point where 0 appears on each ruler is called the ruler origin. Document rulers appear at the top and left sides of the illustration window. The default ruler origin is located at the lower-left corner of the illustration window. Artboard rulers appear at the top and left sides of the active artboard. The default artboard ruler origin is located at the lower-left corner of the artboard. • To show or hide rulers, choose View > Show Rulers or View > Hide Rulers. • To show or hide artboard rulers, choose View > Show Artboard Rulers or View > Hide Artboard Rulers. • To change the ruler origin, move the pointer to the upper-left corner where the rulers intersect, and drag the pointer to where you want the new ruler origin. As you drag, a cross hair in the window and in the rulers indicates the changing ruler origin. Note: Changing the ruler origin affects the tiling of patterns. • To restore the default ruler origin, double-click the upper-left corner where the rulers intersect. Change the unit of measurement The default unit of measurement in Illustrator is points (a point equals .3528 millimeter). You can change the unit that Illustrator uses for general measurements, strokes, and type. You can override the default unit while entering values in boxes. • To change the default unit of measurement, choose Edit > Preferences > Units & Display Performance (Windows) or Illustrator > Preferences > Units & Display Performance (Mac OS), and then select units for the General, Stroke, and Type options. If Show Asian Options is selected in the Type preferences, you can also select a unit specifically for Asian type. Note: The “General” measurement option affects rulers, measuring the distance between points, moving and transforming objects, setting grid and guides spacing, and creating shapes. • To set the general unit of measurement for the current document only, choose File > Document Setup, choose the unit of measure you want to use from the Units menu, and click OK. • To change the unit of measurement when entering a value in a box, follow the value by any of the following abbreviations: inch, inches, in, millimeters, millimetres, mm, Qs (one Q equals 0.25 millimeter), centimeters, centimetres, cm, points, p, pt, picas, pc, pixel, pixels, and px. When mixing picas and points, you can enter values as XpY, where X and Y are the number of picas and points (for example, 12p6 for 12 picas, 6 points). Use the grid The grid appears behind your artwork in the illustration window, and it does not print. • To use the grid, choose View > Show Grid. • To hide the grid, choose View > Hide Grid.
  • 55. Random documents with unrelated content Scribd suggests to you:
  • 56. Ah, but if I must, then I shall endeavor to teach you a higher regard for us." "That may not prove so hard a task," I hastened to assure her; "though I was surprised,—you speak English with so pure an accent that I had not dreamed you other than of my own race." "My father was of English blood," she answered more gravely; "but I fear you will find me quite of my mother's people, if ever we come to know each other well. But hark! that was surely thunder! We have loitered too long; the storm is about to break." It was indeed upon us almost before she ceased speaking. A sudden rush of wind sent my hat flying into the darkness, and whipped her long black hair loose from its restraining knot. I had barely time to wrap my hunting-jacket closely around her shoulders, when the rain came dashing against our faces. I drew her unresistingly around the edge of the nearest sand- pile; but this supplied poor protection against the storm, the wind lashing the fine grit into our faces, stinging us like bits of fire. I tried to excavate some sort of cave that might afford us at least a partial shelter; but the sand slid down almost as rapidly as I could dig it out with my hands. "Oh, let us press on!" she urged, laying her hand upon my arm in entreaty. "We shall become no wetter moving, and your camp, you said, was only a short distance away." "But are you strong enough to walk?" And as I leaned forward toward her, a quick flash of vivid lightning, directly overhead, lit both our faces. I marked she did not shrink, and no look of fear came into her eyes. "I am quite myself once more," she answered confidently. "It was despair and loneliness that so disheartened me. I have never been timid physically, and your presence has brought back the courage I needed."
  • 57. There was a natural frankness, a peculiar confidence, about this girl, that robbed me of my usual diffidence; and as we struggled forward through the dampening sand, her dress clinging about her and retarding progress, I dared to slip one arm about her waist to help in bearing her along. She accepted this timely aid in the spirit with which it was offered, without so much as a word of protest; and the wind, battering at our backs, pushed us forward. "Oh, that troublesome hair!" she exclaimed, as the long tresses whipped in front of our faces, blinding us both. "I have never before felt so much like sacrificing it." "I beg that you will not consider such an act now," I protested, aiding her to reclaim the truants, "for as I saw it before the darkness fell, your hair was surely worthy of preservation." "You laugh at me; I know I must have been a far from pretty sight." "Do you wish me to say with frankness what I thought of your appearance under such disadvantages?" She glanced at me almost archly, in the flash of lightning that rent the sky. "I am really afraid to answer yes,—yet perhaps I am brave enough to venture it." "I have never been at court, Mademoiselle, and so you may not consider my judgment in such matters of much moment; but I thought you rarely beautiful." For a moment she did not attempt to speak, but I could distinctly feel the heaving of her bosom as I held her hard against the assault of the wind, and bent low hoping to catch an answer. "You are sincere and honest," she said at last, slowly, and I felt that the faint trace of mockery had utterly vanished from her soft voice. "'Tis manifest in your face and words. You speak not lightly,
  • 58. nor with mere empty compliment, as would some gilded courtiers I have known; and for that reason I do value your opinion." "You are not angry at my presumption?" "Angry?—I?" and she stopped and faced me, holding back her hair as she did so. "I am a woman, Monsieur; and all women, even those of us hidden here in the wilderness, like best those who admire them. I do not know that I am as beautiful as you say, yet other men have often said the same without being pressed for their opinion. No, I am not angry,—I am even glad to know you think so." "And you surely do know?" I insisted, with a courage strange to me. "Yes," she answered, but her eyes fell before my eagerness; "you are not one who has yet learned to lie, even to women. 'Tis a relief to know there are such men still in the world." We had come to a full halt by this time. "Do you have any idea where we may be?" she asked, peering anxiously about, and perhaps glad to change the tone of our conversation. "I cannot note a landmark of any kind. These sand- hills seem all alike." "I believe we have kept to the southward, for we have merely drifted with the storm; but I confess my sole guidance has been the direction of the wind, as these sand-lanes are most confusing. If there were the slightest shelter at hand, I should insist upon your waiting until the rain was over." "No, it is better to go on. I am now wet to the skin, and shall be warmer moving than resting on this damp sand." We must have been moving for an hour, scarcely speaking a word, for the severe exertion required all our breath. The rain had ceased, and stars began to glimmer amid the cloud-rifts overhead;
  • 59. but I knew now that we were lost. She stopped suddenly, and sank down upon the sand. "I am exhausted," she admitted, "and believe we are merely moving about in a circle." "Yes," I said, reluctantly; "we are wasting our strength to no purpose. 'T will be better to wait for daylight here." It was a gloomy place, and the silence of those vast expanses of desolate sand was overwhelming. It oppressed me strangely. "Let me feel the touch of your hand," she said once. "It is so desperately lonely. I have been on the wide prairie, at night and alone; yet there is always some sound there upon which the mind may rest. Here the stillness is like a weight." Possibly I felt this depressing influence the more because of my long forest training, where at least the moaning of limbs, fluttering of leaves, or flitting of birds brings relief to the expectant senses; while here all was absolute solitude, so profound that our breathing itself was startling. The air above appeared empty and void; the earth beneath, lifeless and dead. Although neither of us was cowardly of heart, yet we instinctively drew closer together, and our eyes strained anxiously over the black sand-ridges, now barely discernible through the dense gloom. We tried to talk, but even that soon grew to be a struggle, so heavily did the suspense rest upon our spirits, so oppressed were we by imaginings of evil. I remember telling her my simple story, gaining in return brief glimpses of her experiences in Canada and the farther West. She even informed me that orders had been received, the day before she became lost upon the lake, to abandon Fort Dearborn; that an Indian runner—whom she named Winnemeg had arrived from General Hull at Detroit, bringing also news that Mackinac had fallen. "Doubtless your absence has greatly worried them also," I said.
  • 60. "Oh, no; none of them knew my plight. Possibly some may miss me, but they will naturally suppose I have been at Mr. Kinzie's house all this time. I have been there often for weeks together, and they have frequently urged me to take shelter with them. You see it is far safer there than at the Fort, for even the most hostile Indians remain on friendly terms with Mr. Kinzie and his family. He has been there so many years, and is so just a man in his dealings with them. 'Tis really strange to see how he leaves his house unguarded, while the garrison at the Fort is almost in a state of siege. It makes it hard to realize how imminent is the danger. Yet they are terribly alarmed at the Fort, and I fear with cause. Even Mr. Kinzie feels the situation to be critical. There were fully three hundred Pottawattomie warriors encamped without the Fort two days ago; and they were becoming bold and impudent,—one chief even firing his gun in Captain Heald's office, thinking to frighten him into furnishing them with liquor." "But the Fort is strong?" I asked. "It is capable of resisting an attack?" "I should suppose so," she answered, hesitatingly; "but that is not a matter upon which a girl may judge. I fear, however, all is not harmony among its defenders. I know that Captain Heald and Ensign Ronan do not agree, and I have heard bitter words spoken by other officers of the garrison." I thought she did not care to speak more about this matter, and we drifted off upon other topics, until I felt her head sink slowly down upon my shoulder, and knew she slept. I sat there still, pillowing her tenderly upon my arm, when the gray light of the dawn stole slowly toward us across the ridges of sand and revealed the upturned face.
  • 61. CHAPTER VIII TWO MEN AND A MAID HE emotion I felt was new and strange to me; for though I had known little of young women, yet as I looked upon her in that dim light of dawn I found myself wondering if I already loved this strange girl. Fair as her face certainly was, its beauty rendered even more striking by the pallor of her late exposure and the blackness of her dishevelled hair, it was her frankness and confidence which most appealed to me. She had held all my thoughts through the long hours of watchfulness as I sat there quietly, feeling the rise and fall of her regular breathing, and thrilled by the unconscious caress of stray tresses as they were blown against my cheek. How she trusted me, stranger though I was! Yet it was through no lack of knowledge of the great world of men, for this young girl had known court gallants and rough soldiery, soft-spoken courtiers and boastful men-at-arms. So the night through I dreamed of what might be; and when the light finally came slowly reddening the eastern sky, I feasted my eyes unchecked upon that sweet upturned face, and made a rash vow that I would win her heart. I was still mirroring her image in my memory, forgetful of all else, —the broad white brow, the long dark lashes resting in such delicate tracery against the smooth velvet of the cheek now slightly flushed, the witching pink of the ear, the softly parted lips between which gleamed the small and regular teeth of ivory, the round white throat swelling ever so slightly to her breathing, when a sudden shout of surprised recognition aroused me from my reverie, and I looked up
  • 62. to see Jordan topping the sand-bank in our front, and waving his hand to some one beneath him and out of sight. "See here, De Croix!" he cried, excitedly, "the prodigal has had good cause to lag behind. He has found the lost fairy of this wilderness." Before I could relieve myself of my burden,—for the mockery of his words angered me,—the French man appeared at his side, and glanced down where his companion's finger pointed. For a moment he gazed; then he murmured a sharp French oath, and strode heavily down the sand-bank. There was a look in his face that caused me to lay the girl's head back upon the sand and rise hastily. The sudden movement awoke her, and her dark eyes looked up in startled confusion. By this time I had taken a quick step forward, and faced De Croix. "This lady is under my protection," I said, a bit hotly, not relishing the manner of his approach, "and any disrespect from either of you will be unwarranted." He paused, evidently surprised at my bold front, and his lip curled contemptuously. "Ah, my young game-cock!" he ejaculated, surveying me curiously. "So you have spurs, and think you can use them? Well, I have no quarrel with you, but perchance I may have more reason to be the protector of this young lady than you suppose. Stand aside, Monsieur." She had risen from the sand, and now stood erect beside me. I saw Jordan grinning in great enjoyment of the scene, and that De Croix's eyes were full of anger; but I would not stir. In my heart I felt a dull pain at his words, a fear that they might prove too true; but I remained where I was, determined to take no step aside until she herself should judge between us.
  • 63. "Will you stand back, Monsieur?" he said, haughtily, dropping his hand upon the hilt of his rapier, "or shall I show you how a gentleman of France deals with such impertinence?" If he thought to affright me with his bravado, he reckoned ill of my nature, for I have ever driven badly; my blood seems slow to heat, though it was warm enough now. "If the lady wishes it, you may pass," I answered shortly, my eyes never leaving his face. "Otherwise, if you take so much as another step I will crush every bone in your body." He saw I meant it, but there was no cowardice in him; and the steel had already flashed in the sunlight to make good his threat, when she touched me gently upon the shoulder. "I beg you do not fight," she urged. "I am not worthy, and 'tis all unneeded. Captain de Croix," and she swept him a curtsey which had the grace of a drawing-room in it, "'tis indeed most strange that we should meet again in such a spot as this. No contrast could be greater than the memory of our last parting. Yet is there any cause for quarrel because this young gentleman has preserved my life?" De Croix hesitated, standing half-poised for attack, even his glib tongue and ready wit failing as she thus calmly questioned him. Indeed, as I later learned, there was that of witchery about this young girl which held him at bay more effectually than if she had been a princess of the royal blood,—a something that laughed his studied art to scorn. She noted now his hesitancy, and smiled slightly at the evidence of her power. "Well, Monsieur, 'tis not often that your lips fail of words," she continued, archly. "Why is it I am made the subject of your quarrel?" The slight sarcastic sting in her voice aroused him. "By all the saints, Toinette!" he exclaimed, striving to appear at his ease, "this seems a poor greeting for one who has followed you through leagues of forest and across oceans of sand, hopeful at the
  • 64. least to gain a smile of welcome from your lips. Know you not I am here, at the very end of the world, for you?" "I think it not altogether unlikely," she replied with calmness. "You have ever been of a nature to do strange things, yet it has always been of your own sweet will. Surely, Monsieur, I did never bid you come, or promise you a greeting." "No," he admitted regretfully, "'tis, alas, true"; and his eyes seemed to regain something of their old audacity. "But there was that about our parting,—you recall it, Toinette, in the shadow of the castle wall?—which did afford me hope. No one so fair as you can be without heart." She laughed softly, as though his words recalled memories of other days, pressing back her hair within its ribbon. "Such art of compliment seems more in place at Montreal than here. This is a land of deeds, not words, Monsieur. Yet, even though I confess your conclusion partially true, what cause does it yield why you should seek a quarrel with my good friend, John Wayland?" "You know him, then?" he asked, in quick astonishment. "Know him! Do you think I should be here otherwise? Fie, Captain de Croix, that you, the very flower of the French court, should express so poor a thought of one you profess to respect so highly!" He looked from one to the other of us, scarce knowing whether she were laughing at him or not. "Sacre!" he exclaimed at last. "I believe it not, Mademoiselle. The boy would have boasted of such an acquaintance long before this. You know him, you say, for how long?" "Since yester even, if you must know. But he has a face, Monsieur, a face frank and honest, not like that of a man long
  • 65. trained at courts to deceive. 'Tis for that I trust him, and have called him friend." "You may rue the day." "No, Captain de Croix," she exclaimed, proudly. "I know the frontiersmen of my father's blood. They are brave men, and true of heart. This John Wayland is of that race." And she rested one hand lightly upon my arm. The motion, simple as it was, angered him. "You ask why I sought quarrel," he said sternly. "'Twas because I suspected this uncouth hunter had wronged you. Now I understand 'twas of your own choice. I wish you joy, Mademoiselle, of your new conquest." I felt the girl's slight form straighten, and saw his bold eyes sink beneath the flame of her look. "Captain de Croix," and every sentence stung like the lash of a whip, "those are cowardly words, unworthy a French gentleman and soldier. Did you leave all your courtesy behind in Montreal, or dream that in this wilderness I should cringe to any words you might speak? You wish the truth; you shall have it. Three days ago, through an accident, I drifted, in an oarless boat, out from the river- mouth at Fort Dearborn to the open lake. None knew of my predicament. A storm blew me helpless to the southward, and after hours of exposure to danger, and great mental anguish, I was driven ashore amid the desolation of this sand. This comrade of yours found me scarce alive, ministered to my sore need, protected me through the hours of the night, stood but now between me and your ribaldry, counting his life but little beside the reputation of a woman. He may not wear the latest Paris fashions, Monsieur, but he has proved himself a man." "I meant not all I said, Toinette," he hastened to explain. "You will forgive, I know, for I was sorely hurt to find that some one else
  • 66. had done the duty that was plainly mine. Surely no rude backwoodsman is to come between us now?" She glanced from the one to the other, with true French coquetry. "Faith, I cannot tell, Monsieur," she said, gayly; "stranger things have happened, and 'tis not altogether fine clothes that win the hearts of maidens on this far frontier. We learn soon to love strength, and the manly traits of the border. On my word, Monsieur, this John Wayland seems to have rare powers of body; I imagine he might even have crushed you, as he said." "Think you so?" he asked, eying me curiously. "Yet 'tis not always as it looks, Mademoiselle." It came so quickly as to startle me. I was wondering at the smile that curled his lips, when he sprang upon me, casting his arms around my waist, and twining one leg about mine. The shock of this sudden and unexpected onset took me completely by surprise, and I gave back sharply, scarce realizing his purpose, till he had the under- hold, and sought to lift me for a throw. 'Twas my weight alone that saved me, together with the rare good fortune that I had been leaning upon my gun. As the breath came back to me, we locked grimly in a fierce struggle for the mastery. I had felt the straining grip of strong arms before, but De Croix surprised me, he was like steel, quick of motion as a wild-cat, with many a cunning French wrestling trick that tried me sorely. I heard a quick exclamation of surprise from the girl, a shout of delighted approval from Jordan, and then there was no sound but the harsh trampling of our feet and the heavy breathing. De Croix's effort was to lift me to his hip for a throw; mine, to press him backward by bodily strength. Both of us were sadly hindered by the sliding sand on which we strove. Twice I thought I had him, when my footing failed; and once he held me fairly uplifted from the ground, yet could not make the toss. 'Twas a wild grapple, for when
  • 67. we had exhausted all the tricks we knew, it came to be a sheer test of physical endurance. Then, for the first time, I felt myself the master,—though he was a man, that gay French dandy, and never did my ribs crack under the pressure of a stronger hand. But I slowly pressed him back, inch by inch, struggling like a demon to the last, until I forced his shoulders to the sand. For a moment he lay there, panting heavily; then the old frank and easy smile came upon his lips. "Your hand, monsieur," he said; "that is, if it yet retains sufficient strength to lift me." Upon his feet he brushed the sand from out his long hair, and bowed gallantly. "I have done my very best, Mademoiselle, 'Tis defeat, but not disgrace, for I have made your giant puff to win. May I not hope it has won me restoration to your good graces?"
  • 68. CHAPTER IX IN SIGHT OF THE FLAG T would have been impossible not to respond to his sparkling humor and good nature, even had the girl been desirous of doing otherwise. From the first I felt that she liked this reckless courtier, whose easy words and actions made me realize more deeply than ever my own heaviness of thought and wit. As he stood there now, bowing low before her, his clothing awry and his long hair in disorder from our fierce contest, she smiled upon him graciously, and extended a hand that he was prompt enough to accept and hold. "Surely," she said mockingly, "no maid, even in the glorious days of chivalry, had ever more heroic figures to do battle for her honor. I accept the amende, Monsieur, and henceforth enroll you as knight at my court. Upon my word," and she looked about at the desolate sand-heaps surrounding us, "'tis not much to boast of here; nor, in truth, is Dearborn greatly better." She paused, drawing her hand gently from his grasp, and holding it out toward me. "Yet, Captain," she continued, glancing at him archly over her shoulder, "I have likewise another knight, this wood ranger, who hath also won my deep regard and gratitude." De Croix scowled, and twisted his short mustache nervously.
  • 69. "You put a thorn beside every rose," he muttered. "'Twas your way in Montreal." "A few hundred miles of travel do not greatly change one's nature. Either at Dearborn or Montreal, I am still Toinette. But, Messieurs, I have been told of a camp quite close at hand,—and yet you leave me here in the sand to famish while you quarrel." The tone of her voice, while still full of coquetry, was urgent, and I think we both noted for the first time how white of face she was, and how wearily her eyes shone. The Frenchman, ever ready in such courtesies, was the first to respond by word and act. "You are faint, Toinette," he cried, instantly forgetful of everything else, and springing forward to give her the aid of his arm. "I beg you lean upon me. I have been blind not to note your weakness before. 'Tis indeed not a long walk to our camp from here, —yet, on my life, I know nothing of where it lies. Jordan," he added, speaking as if he were in command, "lead back along the path we came. Sacre! the old bear was gruff enough over the delay of our search; he will be savage now." I know not how Jordan ever found his way back, for the sliding sand had already obliterated all evidences of former travel; but I walked sullenly beside him, leaving De Croix to minister to the needs of the girl as best he might. I felt so dull beside his ready tongue that, in spite of my real liking for the fellow, his presence angered me. 'Tis strange we should ever envy in others what we do not ourselves possess, ignoring those traits of character we have which they no less desire. So to me then it seemed altogether useless to contend for the heart of a woman,—such a woman, at least, as this laughing Toinette,—against the practised wiles of so gay and debonair a cavalier. I steeled my ears to the light badinage they continued to indulge in, and ploughed on through the heavy sand at Jordan's heels, in no mood for converse with any one.
  • 70. We came upon the camp suddenly, and discovered Captain Wells pacing back and forth, his stern face dark with annoyance. At sight of me, his passion burst all restraint. "By God, sir!" he ejaculated, "if you were a soldier of mine, I would teach you what it meant to put us to such a wait as this! Know you not, Master Wayland, that the lives of helpless women and children may depend upon our haste? And you hold us here in idleness while you wander along the lake-shore like a moonstruck boy!" Before I could answer these harsh words, the girl stepped lightly to my side, and standing there, her hand upon my arm, smiled back into his angry eyes. I do not think he had even perceived her presence until that moment; for he stopped perplexed. "And am I not worth the saving, Monsieur le Capitaine," she questioned, pouting her lips, "that you should blame him so harshly for having stopped to rescue me?" His harsh glance of angry resentment softened as he gazed upon her. "Ah! was that it, then?" he asked, in gentler tones. "But who are you? Surely you are not unattended in this wilderness?" "I am from Fort Dearborn," she answered, "and though only a girl, Monsieur, I have penetrated to the great West even farther than has Captain Wells." "How know you my name?" "Mrs. Heald told me she believed you would surely come when you learned of our plight at the Fort, it was for that she despatched the man Burns with the message,—and she described you so perfectly that I knew at once who you must be. There are not so many white men travelling toward Dearborn now as to make mistake easy."
  • 71. "And the Fort?" he asked, anxiously. "Is it still garrisoned, or have we come too late?" "It was safely held two days ago," she answered, "although hundreds of savages in war-paint were then encamped without, and holding powwow before the gate. No attack had then been made, yet the officers talked among themselves of evacuating." For a moment the stern soldier seemed to have forgotten her, his eyes fastened upon the western horizon. "The fools!" he muttered to himself, seemingly unconscious that he spoke aloud; "yet if I can but reach there in time, my knowledge of Indian nature may accomplish much." He turned quickly, with a sharp glance over his military force. "We delay no longer. Jordan, do you give this lady your horse for to-day's journey, and go you forward on foot with the Miamis. Watch them closely, and mark well everything in your front as you move." "But, Captain Wells," she insisted, as he turned away, "I am exceedingly hungry, and doubt not this youth would also be much the better for a bit of food." "It will have to be eaten as you travel, then," he answered, not unkindly, but with all his thought now fixed on other things, "for our duty is to reach Dearborn at the first moment, and save those prisoned there from death, and worse." I shall always remember each detail of that day's march, though I saw but little of Toinette save in stolen glances backward, Wells keeping me close at his side, while De Croix, as debonair as ever, was her constant shadow, ministering assiduously to her wants and cheering her journey with agreeable discourse. I heard much of their chatter, earnestly as I sought to remain deaf to it. To this end Wells aided me but little, for he rode forward in stern silence, completely absorbed in his own thoughts.
  • 72. During the first few hours we passed through a dull desolation of desert sand, the queerly shaped hills on either side scarcely breaking the dead monotony, although they often hid from our sight our advance scouts, and made us feel isolated and alone. Once or twice I imagined I heard the deepening roar of waves bursting upon the shore-line to our right, but could gain no glimpse of blue water through those obscuring dunes. We were following a well-worn Indian trail, beaten hard by many a moccasined foot; and at last it ran from out the coarser sand and skirted along the western beach, almost at the edge of the waves. 'Twas a most delightful change from the cramped and narrowed vision that had been ours so long. Our faces were now set almost directly northward; but I could not withdraw my eyes from the noble expanse of water heaving and tumbling in the dazzling sunlight. Indeed, there was little else about our course to attract attention; the shore in front lay clear and unbroken, bearing a sameness of outline that wearied the vision; each breaking wave was but the type of others that had gone before, and each jutting point of land was the picture of the next to follow. To our left, there extended, parallel to our course of march, a narrow ridge of white and firmly beaten sand, as regular in appearance as the ramparts of a fort. Here and there a break occurred where in some spring flood a sudden rush of water had burst through. Glancing curiously down these narrow aisles, as we rode steadily onward, I caught fleeting glimpses of level prairie-land, green with waving grasses, apparently stretching to the western horizon bare of tree or shrub. At first, I took this to be water also; until I realized that I looked out upon the great plains of the Illinois. The Captain was always chary of speech; now he rode onward with so stern a face, that presently I spoke in inquiry. "You are silent, Captain Wells," I said. "One would expect some rejoicing, as we draw so close to the end of our long journey." He glanced aside at me.
  • 73. "Wayland," he said slowly, "I have been upon the frontier all my life, and have, as you know, lived in Indian camps and shared in many a savage campaign. I am too old a man, too tried a soldier, ever to hesitate to acknowledge fear; but I tell you now, I believe we are riding northward to our deaths." I had known, since first leaving the Maumee, that danger haunted the expedition; yet these solemn words came as a surprise. "Why think you thus?" I asked, with newly aroused anxiety, my thoughts more with the girl behind than with myself. "Mademoiselle Toinette tells me the Fort is strong and capable of defence, and surely we are already nearly there." "The young girl yonder with De Croix? It may be so, if it also be well provisioned for a long siege, as it is scarce likely any rescue party will be despatched so far westward. If I mistake not, Hull will have no men to spare. Yet I like not the action of the savages about us. 'Tis not in Indian nature to hold off, as these are doing, and permit reinforcements to go by, when they might be halted so easily. 'Twould ease my mind not a little were we attacked." "Attacked? by whom?" He faced me with undisguised surprise, a sarcastic smile curling his grim mouth. His hand swept along the western sky-line. "By those red spies hiding behind that ridge of sand," he answered shortly. "Boy, where are your eyes not to have seen that every step we have taken this day has been but by sufferance of the Pottawattomies? Not for an hour since leaving camp have we marched out of shot from their guns; it means treachery, yet I can scarce tell where or how. If they have spared us this long, there is some good Indian reason for it." I glanced along that apparently desolate sand-bank, barely a hundred feet away, feeling a thrill of uneasiness sweep over me at
  • 74. the revelation of his words. My eyes saw nothing strange nor suspicious; but I could not doubt his well-trained instinct. "It makes my flesh creep," I admitted; "yet surely the others do not know. Hear how the Frenchman chatters in our rear!" "The young fool!" he muttered, as the sound of a light laugh reached us; "it will prove no jest, ere we are out of this again. Yet, Wayland," and his voice grew stronger, "the red devils must indeed mean to pass us free,—for there is Fort Dearborn, and, unless my sight deceive me, the flag is up." I lifted my eyes eagerly, and gazed northward where his finger pointed.
  • 75. CHAPTER X A LANE OF PERIL E passed a group of young cottonwoods, the only trees I had noted along the shore; and a few hundred feet ahead of us, the ridge of sand, which had obscured our westward view so long, gradually fell away, permitting the eye to sweep across the wide expanse of level plain until halted by a distant row of stunted trees that seemed to line a stream of some importance. As Captain Wells spoke, my glance, which had been fixed upon these natural objects, was instantly attracted by a strange scene of human activity that unfolded to the north and west. The land before us lay flat and low, with the golden sun of the early afternoon resting hot upon it, revealing each detail in an animated panorama wherein barbarism and civilization each bore a conspicuous part. The Fort was fully a mile and a half distant, and I could distinguish little of its outward appearance, save that it seemed low and solidly built, like a stockade of logs set upon end in the ground. It appeared gloomy, grim, inhospitable, with its gates tightly closed, and no sign of life anywhere along its dull walls; yet my heart was thrilled at catching the bright colors of the garrison flag as the western breeze rippled its folds against the blue background of the sky. But it was outside those log barriers that our eyes encountered scenes of the greatest interest,—a mingling of tawdry decoration and wild savagery, where fierce denizens of forest and plain made their barbaric show.
  • 76. No finer stage for such a spectacle could well be conceived. Upon one side stretched the great waste of waters; on the other, level plains, composed of yellow sand quickly merging into the green and brown of the prairie, while, scattered over its surface, from the near lake-shore to the distant river, were figures constantly moving, decked in gay feathers and daubed with war-paint. Westward from the Fort, toward the point where a branch of the main river appeared to emerge from the southward, stood a large village of tepees, the sun shining yellow and white on their deer-skin coverings and making an odd glow in the smoke that curled above the lodge-poles. From where we rode it looked to be a big encampment, alive with figures of Indians. My companion and I both noted, and spoke together of the fact, that they all seemed braves; squaws there may have been, but of children there were none visible. Populous as this camp appeared, the plain stretching between it and us was literally swarming with savages. A few were mounted upon horses, riding here and there with upraised spears, their hair flying wildly behind them, their war-bonnets gorgeous in the sunshine. By far the greater number, however, were idling about on foot, stalwart, swarthy fellows, with long black locks, and half-naked painted forms. One group was listening to the words of a chief; others were playing at la crosse; but most of them were merely moving restlessly here and there, not unlike caged wild animals, eager to be free. I heard Captain Wells draw in his breath sharply. "As I live!" he ejaculated, "there can be scarce less than a thousand warriors in that band,—and no trading-party either, if I know aught of Indian signs." Before I could answer him, even had I any word to say, a chief broke away from the gathering mass in our immediate front, and rode headlong down upon us, bringing his horse to its haunches barely a yard away.
  • 77. He was a large, sinewy man, his face rendered hideous by streaks of yellow and red, wearing a high crown of eagle feathers, with a scalp of long light-colored hair, still bloody, dangling at his belt. For a moment he and Captain Wells looked sternly into each other's eyes without speaking. Then the savage broke silence. "Wau-mee-nuk great brave," he said, sullenly, in broken English, using Wells's Indian name, "but him big fool come here now. Why not stay with Big Turtle? He tell him Pottawattomie not want him here." "Big Turtle did tell me," was the quiet answer, "that the Pottawattomies had made bad medicine and were dancing the war- dance in their villages; but I have met Pottawattomies before, and am not afraid. They have been my friends, and I have done them no wrong." He looked intently at the disguised face before him, seeking to trace the features. "You are Topenebe," he said at last. "True," returned the chief, with proud gravity. "You serve me well once; for that I come now, and tell you go back,—there is trouble here." Wells's face darkened. "Have I ever been a coward," he asked indignantly, "that I should turn and run for a threat? Think you, Topenebe, that I fear to sing the death-song? I have lived in the woods, and gone forth with your war-parties; am I less a warrior, now that I fight with the people of my own race? Go take your warning to some squaw; we ride straight on to Dearborn, even though we have to fight our way." The Indian glanced, as Wells pointed, toward the Fort, and sneered. "All old women in there," he exclaimed derisively. "Say this to- day, and that to-morrow. They shut the gates now to keep Indian on outside. No trade, no rum, no powder,—just lies. But they no keep
  • 78. back our young men much longer." His face grew dark, and his eyes angry. "Why you bring them?" he asked hotly, designating our escort of Miamis, already shrinking from the taunts of the gathering braves. "They dog Indians, bad medicine; they run fast when Pottawattomie come." "Don't be so certain about that, Topenebe," retorted Wells, shortly. "But we cannot stop longer here; make way, that we may pass along. Jordan, push on with your advance through that rabble there." The Indian chief drew his horse back beside the trail, and we moved slowly forward, our Indian guides slightly in advance, and exhibiting in every action the disinclination they felt to proceed, and their constantly increasing fear of the wild horde that now resorted to every means in their power, short of actual violence, to retard their progress. As they closed in more closely around us, taunting the Miamis unmercifully, even shaking tomahawks in their faces, with fierce eyes full of hatred and murder, I drew back my horse until I ranged up beside Mademoiselle Antoinette, and thus we rode steadily onward through that frenzied, howling mass, the girl between De Croix and me, who thus protected her on either side. It was truly a weary ride, full of insult, and perchance of grave peril had we faced that naked mob less resolutely. Doubtless the chiefs restrained their young men somewhat, but more than once we came within a hair's-breadth of serious conflict. They hemmed us in so tightly that we could only walk our horses; and twice they pressed upon Jordan so hard as to halt him altogether, bunching his cowardly Miamis, and even striking them contemptuously with their blackened sticks. The second time this occurred, Captain Wells rode forward to force a path, driving the spurs into his horse so quickly that the startled animal fairly cut a lane through the crowded savages before they could draw back. Naught restrained them from open violence but their knowledge of that stern-faced swarthy
  • 79. soldier who fronted them with such dauntless courage. Hundreds in that swarm had seen him before, when, as the adopted son of a great war-chief of the Miamis he had been at their side in many a wild foray along the border. "Wau-mee-nuk, the white chief," passed from lip to lip; and sullenly, slowly, reluctantly, the frenzied red circle fell back, as he pressed his rearing horse full against them. How hideous their painted faces looked, as we slowly pushed past them, their lips shrieking insult, their sinewy hands gripping at our stirrups, their brandished weapons shaken in our faces. With firm-set lips and watchful eyes I rode, bent well forward, so as best to protect the girl, my rifle held across my saddle pommel. Twice some vengeful arm struck me a savage blow, and once a young devil with long matted hair hanging over his fierce eyes thrust a sharpened stake viciously at the girl's face. I struck with quick- clinched hand, and he reeled back into the mass with a sharp cry of pain. My eyes caught the sudden dazzle, as De Croix whipped out his rapier. "Not that, Monsieur!" I cried hastily, across her horse's neck. "Use the hilt, not the blade, unless you wish to die." He heard me above the clamor, and with a quick turn of the weapon struck fiercely at a scowling brave who grasped at his horse's rein. He smiled pleasantly across at me, his fingers twisting his small mustache. "'Tis doubtless good advice, friend Wayland," he said, carelessly, "but these copper-colored devils are indeed most annoying upon this side, and I may lose my temper ere we reach the gate." "For the sake of her who rides between us, I beg that you hold in hard, Monsieur," I answered. "'T would be over-much to pay, I imagine, for a hot brain."
  • 80. Welcome to our website – the perfect destination for book lovers and knowledge seekers. We believe that every book holds a new world, offering opportunities for learning, discovery, and personal growth. That’s why we are dedicated to bringing you a diverse collection of books, ranging from classic literature and specialized publications to self-development guides and children's books. More than just a book-buying platform, we strive to be a bridge connecting you with timeless cultural and intellectual values. With an elegant, user-friendly interface and a smart search system, you can quickly find the books that best suit your interests. Additionally, our special promotions and home delivery services help you save time and fully enjoy the joy of reading. Join us on a journey of knowledge exploration, passion nurturing, and personal growth every day! ebookbell.com