New Lynda.com Video Title: Illustrator CS2 FAQs

What are the key Preferences settings?
Can you draw a line with variable stroke weight?
Can I create a gradient that goes from a color to transparent?
How can I align artwork to the artboard?
Why are the names of some items in my Layers palette underlined?
How do I crop a photograph in Illustrator?
What’s the best way to bring Illustrator art into Photoshop?
How do I create a Flash animation in Illustrator?
Is there any way I can make Illustrator go faster?
How can I create a 3-D graph in Illustrator?
How do I record a custom Action?

These, and over 100 other questions are answered in my new video title, Illustrator CS2 FAQs, available on Lynda.com.



Each video in this title covers a single question and provides the answer -- and the clips themselves are pretty short. Designed to give you the answer you need so that you can get back to work and apply what you've learned. Hope you enjoy it!

If you don't already have access, use the link on the right to sign up and get a free 7-day trial to the Lynda.com Online Training Library.

PEN 12.06 - Critical Color Control

Global Process Colors. Websafe VisiBone2 color palette. Magic Wand tool. Delete Unused Palette Items. Editing Startup files. Overprint Preview. Spot Color "Book Color" setting. Plus a new Direct Selection, and Reference Point!
- Video Podcast
- PDF version

Happy Thanksgiving!

Best wishes to all. We have plenty to be thankful for.

What's in a file?

Confusion abounds when people talk about file formats:
Which one should I use? But my printer told me to always use this format? I heard that the other format isn't good. Illustrator's native file format is PDF. InDesign can read native Illustrator files. EPS is dead to me. Always save your file as EPS. PDF solves all problems. PDF results aren't high quality...

But the real question you should be asking is:
What is actually *IN* a file anyway?

If you understand what a file is, and what's in it, you can answer all of the questions above, and then some. Several years back, I posted something like this to the PrintPlanet CTP list. But it's wonderful information to have in any case. You just might want to print this out, shrink it down, and tattoo it to the back of your hand, for easy reference :)

Illustrator Files
When you save files from Illustrator (either using the Save or the Save As command from the File menu), the three mainstream choices you have are Adobe Illustrator Document (.ai), Illustrator EPS (.eps), and Adobe PDF (.pdf).

- Adobe Illustrator Document (.ai)
This is a native Illustrator format. Only Illustrator is able to read native data. While this data is based on the PDF Langauge specification, it isn't a file that any other application can read (including Acrobat, InDesign, or Photoshop, etc). This format retains ALL editability in your file, and is the one you should always internally for your own use (for use, archiving, storage, etc.). You may have heard that native .ai files are PDF or that InDesign can read native .ai files. That isn't true. What *IS* true is that when you save a native Illustrator file, Illustrator also include a PDF 1.4 composite of that file inside the file as well. So a native .ai files isn't a PDF file, a native .ai file CONTAINS a PDF file.* The PDF 1.4 file supports transparency, so both the native .ai portion and the PDF 1.4 portion of the file are both in an unflattened state. It should also be noted that the native portion of the file that is saved is obviously saved for that version of Illustrator (each version of Illustrator has its own native version). So when you're saving your file out of Adobe Illustrator CS2 as an Adobe Illustrator Document (.ai), you get a single file that contains:
- Native Illustrator CS2 content (unflattened) - used when file is reopened in Illustrator
- PDF 1.4 content (unflattened) - used when file is opened or placed anywhere else*

*In the Illustrator Options dialog that appears when you save a native .ai file, a checkbox called Create PDF Compatible File, marked on by default, determines whether the PDF portion of the file is included when the file is saved. With the option turned on, your file size grows, but the file can be read by apps like InDesign and Photoshop. Turning it off will chop the file size in half (and speed up save time), but the file will only be able to be reopened in Illustrator.

- Illustrator EPS (.eps)
Standing for Encapsulated PostScript, EPS is a format that is supported by a majority of graphics applications. PostScript does not support transparent constructs, so an EPS is a flattened file format. Illustrator can interpret (or parse) EPS content into its own native format when opening files, and it can write or convert its own native format to EPS as well. In that translation, flattening occurs, and general editiablity is lost as well (effects are expanded, text is broken apart, etc.). Therefore, Illustrator will also include a native .ai version in the file, so that should you ever reopen the file in Illustrator CS2 again, all of your artwork will be fully editable.* So when you're saving your file out of Adobe Illustrator CS2 as an Illustrator EPS (.eps), you get a single file that contains:
- EPS content (flattened) - used when file is opened or placed anywhere else
- Native Illustrator CS2 content (unflattened) - used when file is reopened in Illustrator CS2*

*Remember that Illustrator saves its native content for the version that you specify. So if you save your file out as an EPS file compatible with Illustrator 8, then the native Illustrator data that is saved along with the file is Illustrator 8 data -- a format that didn't support transparency. Also, saving back to previous CS versions mean you're going back to the pre-new text engine versions, and text won't be editable, even if the file is reopened in Illustrator CS2.

- Adobe PDF (.pdf)
While Illustrator's native file format is based on the PDF language specification, there are many constructs that Illustrator uses that aren't supported in PDF directly (reflowable text, styles, effects like 3D, blends, etc.). So when you save your file as a PDF, Illustrator writes its data out so that it can be read in a format that any PDF reader (or app that can place PDF) understands. To retain full editability upon reopening the file in Illustrator, a native CS2 version of the file is also saved inside the file.* So when you're saving your file out of Adobe Illustrator CS2 as an Adobe PDF (.pdf), you get a single file that contains:
- PDF content (flattened if you choose PDF 1.3, unflattened otherwise) - used when file is opened or placed anywhere else
- Native Illustrator CS2 content (unflattened) - used when file is reopened in Illustrator*

*In the Save Adobe PDF dialog that appears when you save a PDF file, a checkbox called Preserve Illustrator Editing Capabilities, marked on by default, determines whether the native CS2 portion of the file is included when the file is saved. With the option turned on, your file size grows, but the file can be reopened in Illustrator. Turning it off will chop the file size in half (and speed up saving time), but the file won't be very editable if reopened in Illustrator. As an aside, since we usually send PDF files to clients anyway, and not only do we want smaller file sizes so they email faster, but we have no interest in giving the client the ability to open the file themselves for editing in Illustrator, turning this option off makes a lot of sense. However, when sending files to printers, leaving the option on means that they can reopen the file in Illustrator to make tweaks or adjustments if necessary.

PDF Versions
While you can save PDF files from Illustrator, there are different versions of PDF. In reality, there are two variables here. There are versions of Acrobat, and there are versions of the PDF Language specification (referred to by us techie people as PDFL). Just in case you get confused, an easy way to remember which PDFL goes with which version of Acrobat, is to just add up the numbers (PDFL 1+4 = Acrobat 5, etc.)

- Acrobat 4 (PDFL 1.3) - predated the days of transparency. So in terms of flattening, think of PDF 1.3 as though it were EPS (with a few added benefits). PDF 1.3 files are always flattened. PDF 1.3 does support CMYK and Spot Colors. This version also introduced smooth shading technology into PDF and digital signatures.

- Acrobat 5 (PDFL 1.4) - first version of PDF to support transparency. When you save a native .ai file from Illustrator, the PDF that Illustrator embeds in the file so that other apps can read the file, is PDF 1.4. Besides support for transparency, this version also introduced XML-tagging and metadata support. A PDF 1.4 is not a flattened format. The only way to get flattened content into a PDF 1.4 file is to manually flatten the content within Illustrator, on the artboard before you save it.

- Acrobat 6 (PDFL 1.5) - probably the most popular version of Acrobat reader and app installations today. Obviously, an unflattened format, PDF 15. introduced the concept of PDF layers, and allows JPEG2000 compression.

- Acrobat 7 (PDFL 1.6) - Same as 1.5 but has added object-level metadata support, and AES encryption.

- Acrobat 8 (PDFL 1.7) - Hot off the press, Acrobat 8 only started shipping a short time ago. Illustrator CS2 can't save in this format, but future versions of Illustrator should be able to.

PDF Standards
In an effort to achieve some kind of level playing field for PDF files, several standards have been established. These are all regular PDF files, but a PDF can be validated to meet the requirements defined by these standards.

- PDF/X-1a - has become the standard for PDF file within the printing and publishing community. Among other things, PDF/X-1a requires that all fonts are embedded, transparency is flattened, colorspace is CMYK and/or spot, and that the file is PDF 1.3 compatible.

- PDF/X-2 - created specifically for OPI workflows, where hi-res data is swapped in for FPO data at print time. This is problematic in transparency workflows, as hi-res data is needed at flattening time. Highly specialized, this format is used mainly in packaging workflows.

- PDF/X-3 - seen as the "next" step for printing workflows, PDF/X-3's main difference from PDF/X-1a is that RGB data is allowed, on the condition that an intent profile is present. This allows printers to attain greater control over their own color conversions and color integrity, as the conversion from RGB to CMYK happens on their watch -- not the designer's.

- PDF/X-4 (Draft) - still in draft form, the main attribute of PDF/X-4 is that it will allow transparency. This would obviously enable the printer to handle the flattener settings.

- PDF/A - I doubt anyone reading this will ever have use for this, but PDF/A is a standard that has been introduced to assist in the archiving of data. If you think about it, there are some files that we may have worked on 10 years ago, which aren't supported in any apps today. While the file may be sitting on a CD somewhere (or most likely, a Syquest cartridge), you don't have any app that can open it. PDF/A is a standard that was established to ensure that today's files will be accessible in the future. The largest group of people who utilize this standards are those in the government, and in medical and insurance fields, who need to archive huge amounts of data electronically.

So that brings us to the end of our discussion. Hopefully we've all learned a little something today. Now go save some files!

ASK MORDY: Transparency, EPS, and PDF.

Today's questions from Jacob Brunny deal with the topic of transparency. If you haven't already seen my Adobe online eSeminar on the topic of transparency, you can check it out for free here.

We got a proof back from the printer today that had some objects that were vector but looked like they were rasterized. After watching your e-seminar yesterday (which was great) I looked at the transparency flattener and sure enough, we had been using EPS set at a medium resolution and those problem areas were the ones that illustrator was making rasterized complex regions. So my question is this: Once you have that EPS file set at a medium resolution, what can you do to undo that damage. I tried taking that EPS and saving it as an EPS with a high quality preset but those problem areas are still showing up. I also tried saving as native AI but it was still showing up. So can that damage be undone by saving as AI and then a PDF? Also can a printer override those settings? Can InDesign override those settings if you place a medium quality EPS into it? Also was there a place in Illustrator or InDesign where you can set the transparency level for all documents?

Jacob then followed up his original question with this:

So if you save a native AI file as a PDF/X-1a PDF does that ensure if will print correctly even on laser-jet/ink-jet printers if they don't have the overprint preview box checked in Acrobat? I am sending in an ad to a magazine but I have no clue how they will be printing it (it is a two color job using black and one spot color) I saved it as a PDF/X-1a PDF and when I viewed it, it looked off, so I referred to a post on your blog about setting the overprint preview in Acrobat and that worked but I wanted to know how that will affect the ad if the magazine doesn't have that option selected when they go to print it?

Not that I was counting or anything, but I think that was six questions Jacob :)

But they are actually great questions, and hopefully the answers will help many others looking for the same information.

Let's start from the beginning. The file was saved as EPS, and after you realized that some rasterization was occuring, you checked and found out that the file was saved using the Medium Resolution flattener setting. And the kind of rasterization that you seem to be referring to here is that of rasterized complex regions (that's when Illustrator rasterized parts of your file not because it can't preserve them as vectors, but because it wants to print the file faster). And you know from watching my eSeminar, that using the High Resolution flattener setting will disable Illustrator's ability to rasterize for performance reasons.

Well, the truth is, you can simply reopen the EPS file in Illustrator, and resave the EPS using the High Resolution flattener setting. You can do this because when Illustrator saved the EPS, it also snuck in a full native CS2 version of the file which is in an unflattened state. So you'll always be able to reopen the EPS to resave it using a different flattener preset -- well, actually, not always. Because there's one situation where saving to EPS will be irreversible. When? When you save your file as an Illustrator 8 compatible EPS. Why? Because Illustrator 8 didn't support transparency. So even though Illustrator sneaks in a native file that allows you to reopen the file, the native version is useless because it's flattened as well. So while I'm not sure what the circumstance is with your file, if it was saved as an AI8 EPS, then if it was saved using the Medium Resolution flattener setting, it stays that way... for life.

As a note, if the file was saved out of Illustrator as an EPS, then a printer can (if he knows to do this) reopen the file in Illustrator and resave it with the right flattener settings. Unless of course, you saved it as an AI8 EPS, in which case, you've shot yourself in the foot, and your printer can offer nothing to stop the bleeding (or the pain for that matter).

As for InDesign, once you place an EPS into InDesign, that EPS is already in a flattened state. Therefore, InDesign cannot change the flattener settings. As a user, you would need to reopen the EPS manually in Illustrator, and resave it with the proper settings (keeping in mind the AI8 issue mentioned above). This is why placing a native AI file (which is a PDF 1.4 file) into InDesign is key. Because then, InDesign DOES control the flattening of the file.

I don't believe there's a way to set all documents to use a specific Flattener setting automatically. Although once you do specify a setting for a document, it will stay with that setting. A solution might be to set up a template that uses the High resolution setting, and to always start new documents from that template.

With regards to your last question, when you use spot colors and transparency, the flattener often uses overprint commands to preserve the spot colors. So as you pointed out, you need to use the Simulate Overprints options when printing, or to use the Overprint Preview mode to see the results in a proof. But that is for proofing only. When the file is actually separated to plates, the file will print correctly. Simulating overprints is something that is only applicable when viewing a composite of the document. So from what you describe, you should be ok.

I hope this answers your questions Jacob, and I hope that it also answers the questions of those who were too shy (or too busy) to ask them as well.

New Adobe Kuler is cool

So I know I teased about it yesterday, but tease no more -- it's here and out in the open.

Adobe kuler is a Flash-based app and runs in your browser. It's actually based on Flash 9 and ActionScript 3, so you'll need to download the latest Flash Player to use it (you'll be prompted to do so when you enter the site, if necessary). Kuler is a project of Adobe Labs (meaning that technically, it's in beta form), but most importantly, it's fun, free, and fabulous.

Some of you know that I consider myself "challenged" in the area of color. While I've found some sites in the past that can help me find some good colors to use in a project (ColorBlender, ColourLovers, etc) I've never really gotten everything that I need. And I think Adobe has hit the mark with kuler.

First and foremost, Kuler is an online community based around the use of color. There are links that talk about color theory, events, exhibits, etc. But through this community, you can share your own use of color with others, and benefit from other people who use color as well. That's because kuler is also a tool that you can use to explore your own colors. Use kuler to find the perfect set of colors to use for any project. The user interface is pretty cool, and allows you to quickly choose a variety of "rules" such as analogous, monochromatic, complementary, etc. You can view HSV, RGB, CMYK, LAB, and HEX values of your colors, and best of all, you can click one button to export your colors as an Adobe Swatch Exchange (.ASE) file, which you can import directly into Illustrator, Photoshop, or InDesign. Nice, eh?



But that's just the small part. Since kuler is an online community, you can publish your colors so that others can see and use them. And you can rate the color palettes that people choose just like you can rate your own songs in iTunes. That means you can quickly see what the most popular colors are, which ones are rated the highest, or which ones have been recently added. Now to me -- one who doesn't know much about colors -- I think it's pretty cool that I can find some nice colors to use that others have given a good rating to. Of course, you also have a "my kuler" section, which allows you to manage your own private colors as well.

So what are you waiting for? Go give it a try -- I'm already having way too much fun with it :)

You can find Adobe kuler at http://kuler.adobe.com.

Oh, by the way, I think one of the coolest things about kuler is that it isn't an application that you buy -- which if you think about it, is something Adobe hasn't done before. If this is a new direction that Adobe is heading in (and I have my reasons to believe that is so), I think this is just the first of many cool diyctools that we might see from Adobe in the future.

And the first person who publishes a "mordy" palette of colors on kuler gets to choose a topic for the next episode of Rubber Cement!

What do you get when you mix COOL and COLOR?

The answer? KULER (pronounced "koo-ler").



I think you'll like it. More soon...

Tell Live Trace to Use Your Own Colors - PART II

Tell Live Trace to Use Your Own Colors!

Create a Dynamic Button that Grows!

Introducing... RUBBER CEMENT

In my never-ending quest to provide the world with helpful information, I've come up with the following creative way to provide it in a fun and exciting way. Well, at least it's different than anything you've seen before... I call it RUBBER CEMENT (oh, like you've never gotten high on that stuff). Let me know what you think!

Adobe opens up with ActionScript

Today, Adobe announced that they have donated the ActionScript Virtual Machine code to the Mozilla foundation. The Mozilla foundation, if you aren't already familiar, manages several open-source code projects. The most famous are Firefox (web browser), and Thunderbird (email app). The ActionScript code that Adobe has now reelased as open source is not the Flash Player itself, nor does this mean that the Flash player is automatically embedded within the Firefox browser. What it does mean is that development of ActionScript and apps that are based on it will most likely increase dramatically, pushing technology forward. In addition, performance running such apps will be greatly improved. While Adobe released the 135,000 lines of code today (135 KLOC, or 135 "Thousand Lines Of Code" in geek terms), the first version of Firefox to ship with this code probably won't appear until 2008. You can find more information about the Tamarin project here.

You might ask what this means for us, and an easy answer would be that over the next few years, this will enable the development of a higher level of internet apps and what some folks refer to as Web 2.0 development. To me, this is nothing new, as such developments happen all the time, pushing technology further. I see something bigger though. We all know that over the years, Adobe has been very protective of their technology -- which they have every right to do. But since the Macromedia merger, it appears that Adobe has been taking a step in the direction of finally "getting" what the Internet is and what it can do. First, Adobe opened its doors just a crack to let a few rays of light out by releasing public betas. While the concept was started with Macromedia, Adobe could have shut it down -- but they didn't. Now, Adobe contributes code to the masses. Not only is it a step in the right direction, it's something which appears to have momentum, and can only lead to greater things.

Speaking of things that are open, an old friend of mine, Andrei Herasimchuk, has a blog called Design by Fire. If you've never heard of him, you've certainly used his work. Andrei designed the first unified user interface at Adobe, which appeared across Illustrator, Photoshop, and InDesign. I believe that Illustrator 7 was the version that first portrayed Andrei's work, and while it was immediately met with much criticism at the time, Adobe's interface is considered second to none since then.

Recently, Andrei published an open letter to John Warnock. His plea was to help make for a better looking internet by releasing several typefaces into the public domain. His list of requested typefaces include Adobe Caslon Pro, Adobe Jenson Pro, Franklin Gothic, Frutiger, Futura, Gill Sans, Helvetica Neue, Univers, and Warnock Pro. Not a bad list if you ask me. For someone who is passionate about type, I can certainly agree with Andrei's goal here, and he has my support. Although apparently, it seems that John Warnock's indirect response has been "the internet has other problems it needs to solve" (thanks for the link, Gary).

PEN 11.06 - Transformations: More than meets the eye

Origin Points. Free Transform Tool. Transform Again. Transform Each. Step and Repeat. Transform Effect. InDesign Scaling Issues. Plus a new Direct Selection, Flare Tool Award, and Reference Points!
- Video Podcast
- PDF version

"and the Emmy goes to...."

ADOBE!!!?!!?!!?!!!!!

From the press release:

SAN JOSE, Calif. — Nov. 2, 2006 — Adobe Systems Incorporated (Nasdaq:ADBE) has won a Technical and Engineering Emmy® Award from the National Academy of Television Arts and Sciences for its Flash® Video technology, in recognition of the software’s pivotal role in bringing television content to the Internet. The award for Streaming Media Architecture & Components was announced today by the National Academy of Television and will be formally delivered to Adobe at a ceremony held during the CES trade show, January 2007 in Las Vegas.

Read the entire press release here.

Truth be told, I was always enamored walking into Apple's main lobby at One Infinite Loop where they have their Emmy displayed in a glass case for all to see. Apple won that Emmy for the development of FireWire. The next time I walk into Adobe's headquarters in San Jose, I hope to see their Emmy proudly displayed in the lobby as well.

Well done, Adobe. Well done.

Upcoming Live Adobe Seminars

Yes, you too can enjoy a live presentation from yours truly on a variety of Illustrator topics -- all from the comfort of your own office chair or couch at home.

In the coming days, I will be giving several live online seminars, all sponsored by the wonderful folks at Adobe. And of course, they are all free. The following is a short description of the sessions, when they will be happening, and where you can sign up. See you online!

Title: Designing in Illustrator with Flash in Mind
Dates: Tuesday, November 7 and Thursday, November 16
Description: Do you use Flash today? Are you thinking about using Flash in the future? Would you like to know more about Flash? In this session, I'll talk about how to use both Illustrator and Flash together. I'll go over some best practices and discuss key concepts and tips on how to get the most out of creating graphics in Illustrator and then moving them into Flash. Working with Symbols, Text, and Layers are some of the key concepts that will be covered.
Register Now

Title: Using Transparency with Confidence in Adobe Creative Suite 2
Date: Wednesday, November 8
Description: We all know that designers love to use transparency effects. And we all know that the number one question is "how will it print?". In this session, I'll go over key concepts on how transparency works, best practices on how to ensure that your artwork prints correctly, and most importantly, how to sleep better at night. This session will cover Illustrator, InDesign, and Acrobat.
Register Now

Title: Packaging Design with Adobe Illustrator CS2
Date: Wednesday, November 15
Description: If you're good at reading text upside down, there's a good chance you're a package designer. In this session, I'll cover key concepts and features that provide benefits to package designers and production artists. From preserving spot colors, to using symbols and styles efficiently, I'll try to share as many tips and tricks that I can squeeze into the session. As an added bonus, I'll be showcasing some totally cool and very useful plugins from ESKO Graphics -- one of the leaders in Illustrator-based packaging design solutions.
Register Now