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Taking out the trash . . .

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Contributed by Brenda Sutherland, Illustrator Team Geologist

Tuesday is garbage day at my house. . . . In preparation, I run around the house emptying all the trash bins, gather up the recycling and haul out the green waste container and park it all on the curb. Hopefully timing these tasks before that big noisy truck comes along and takes it all away.

The experience is both tedious and cathartic. While I can think of an infinite number of things I'd rather be doing than my weekly trash chore, there is something refreshing about knowing that all of those things I no longer need or want have been taken away, and I'll never have to smell, trip over, or store them away again.

TrashCan.jpg

Of course, some people are much better housekeepers than I am, and would be horrified to see my last minute scramble down the driveway. But at least I get it done! And I think designers are a bit like this with their files as well. Some are meticulous about handing off files that have been scrubbed clean, without a single erroneous anchor point or unused swatch. Every layer, sublayer and group has a unique and meaningful name, and there are no hidden objects, unpainted paths, or dead links to be found. I have seen these files, and they are a thing of beauty.

Think about when you pick your car up from the mechanic. How would you feel if you found the old spark plugs or empty oilcans lying in your car? Not to mention greasy handprints on the hood. When you pick up your car, you expect it to be ready to go, without any sign that someone's been working on it. And you especially don't want to be cleaning up after them!

Now think about how your clients feel when they get your files. When they open them up and the swatch panel contains not only all of the swatches from the Startup Profile, but also every spot color you tried out while working out your color scheme, every variation of a particular pattern or gradient you were working on, and all the different brushes you experimented with on that one object you ended up deleting anyway. And then of course are the objects no longer in use but still present in your document. They may not be visible, but their presence can have repercussions that can cost you time and money later. So it's well worth the taking a few minutes to scrub your files before handing them off. Not only do tidy files look more professional, removing these items reduces the file size, and prevents problems and confusion further down the production line as people other than you open and work with them.

Many designers budget time into their schedules for file cleanup. Not that it takes a lot of time, as Illustrator provides time saving tools to help you sweep your files cleans of unnecessary clutter. Hopefully, you are already doing this. If not, read on and I'll share some tips with you that will help you add this step to your workflow as efficiently and painlessly as possible.

Contributed by Neeraj Nandkeolyar, Illustrator Workflow Team

Haven’t we all tried to create ruler guides as accurately as possible, but found after zooming in we found the guides were off? This is one of the reasons why most of us drag ruler guides out at maximum zoom. Here are some quick ways to get accurate ruler guides, without having to work zoomed in.

Choose the desired ruler units, either from Preferences, or control-click (on Mac) or right-click (on Win) on the rulers.

Pref_Units_Context_combined.png

Multiple Artboards--Tips and Tricks Part 3

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This section of Multiple Artboards Tips and Tricks is about page tiling.

Q: Since Save As PDF dialog doesn’t have the functionality of creating page tiles, how would I create Multipage PDF for tiled output from Illustrator?

A: You can create a tiled multi-page PDF more easily and precisely from Illustrator CS4 using Multiple Artboards. In fact you’ll probably save a lot of time and effort this way. Suppose you are planning to create a poster of size 2000pts X 2000pts and want to create a PDF that will have the whole artwork spread over 4 pages. You need to create 4 Artboards each of size 1000pts X 1000 pts with some no space between them. Use the following steps for easy discoverability, do file->New and in the new document dialog enter “4 “ as Number of Artboards, enter “0” as Spacing, Width and Height value 1000pts each and press Ok, this operation will create four Artboards each of size 1000pts X 1000pts placed side by side. Now if you want to have 4 pages in PDF each of size 1000pts by 1000pts, choose File->Save As choose file format as PDF and press “Save”, you will have a PDF consisting of 4 pages

.createMultipagePDF.png

Picture:showing how to save all your Artboards to Multipage PDF

You can also take complete control of overlap between tiles by setting the “space” between artboards as negative. For example you could create 4 artboards of 1010 x 1010 points and -20 points spacing.

But if you are a fan of page tiling and still want to follow the old route of going to the Print dialog, setting the Page Tiling on and so on, you can still print to PostScript file and distill the PostScript in Acrobat Distiller to obtain multipage PDF. Please remember that the Page Tiling option has been moved to General pane of Print dialog.

In case you have a large number of legacy files created from Illustrator and have Page Tiling enabled in those documents, we have provided a smart way to convert these Page Tiles to Artboards. Once these Page Tiles have been converted into Artboards, they can be easily saved to a Multipage PDF or printed using the Print dialog.
Whenever you will open a legacy file that has page tiling enabled you will receive “Convert to Artboard” dialog as shown.

convert_to_artboards.png

Picture: showing how to convert the page tiles of legacy documents to Artboards in Illustrator CS4.

This dialog will help you to convert your old legacy tiled document to Multiple Artboards. To do this, just uncheck the “Legacy Artboard” option and check the “Page Tiles” option. You will get as many Artboards in the document as there were page tiles. These artboards would be of equal size & in sequence.

If you don’t want to use Multiple Artboards and want all of your tiles be present in the document, always check the “Legacy Artboard” option ON, and all other options off in the “Convert to Artboards” dialog.

Please comment if you still have doubts and need more information regarding these work flows.

Live Paint -- Making things out of thin air

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Contributed by Brenda Sutherland, Illustrator Team Geologist
Isn’t it a great feeling when you set out to do something and find that it’s already been done? I’ve got that feeling now thanks to Mordy Golding’s instructional video’s currently being offered for FREE on Lynda.com.

You see today was the day I was planning on wrapping up my series on Pathfinder and all the great features that use it with an article on Live Paint. But it turns out Mordy has just completed a series of 10 videos that go into depth describing the benefits of Live Paint and how to use it. Whew, my job is done!

Well, almost. . .

While I don’t want to spend too much time covering the nuts and bolts of Live Paint, as you can get that from watching the video’s, I’ll spend a little time talking about the development of the feature, since many of you have told us that you enjoy hearing the behind the scenes stories of how features evolve.

The motivation behind Live Paint was to create a more intuitive drawing and coloring environment in Illustrator. While Ai is the industry leader in vector graphic programs, the learning curve is pretty high, and it pains us to see new users create shapes by overlapping strokes then struggle to find a way to fill the object they’ve created with color. This is something that is easy for them to do in pixel based painting programs, even the educational software for children makes it easy to draw and paint this way, so it’s understandable that new users would expect to find a method of working like this in Illustrator.

Hands.jpg

But vector paths don’t work that way. The paint attributes are part of the geometry of the original objects. Spaces between these objects are just that, spaces, empty spaces, negative space . . . It’s kind of like holding your hands up and making a rectangle with your fingers. You can see the shape of the rectangle, but you know it’s not a real object, it’s more of an optical illusion. Well that’s the problem we had to solve in Illustrator. Objects can be close together and the spaces between them can look like objects, but there is no object there. So how can a user fill it with paint?

Multiple Artboards--Tips and Tricks Part 2

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This section of Multiple Artboards Tips and Tricks is about use of crop marks.

Q: In Illustrator CS3, if you choose Object>Crop Area>Make, you get a Crop Area and Crop Marks at a distance of 9pt by 9pt from edges of the Crop Area. Now that Crop Area is not present in Illustrator CS4, can we still get crop marks in an EPS or PDF file without any offset error?

A: Yes we can still get the crop marks in an EPS or PDF file without any offset error by leveraging the Crop Marks Effect functionality.

In Illustrator CS4, create two rectangles, both these rectangles should have "No Fill" and "No stroke."
The dimensions of first rectangle are equal to that of crop area you want. The dimensions of the second rectangle are less than the first rectangle by 18 pt by 18 pt. Both are placed concentrically, i.e., have the same center point. Select the first rectangle and choose Object >Convert to Artboards to create a new artboard. Then select the second rectangle and apply crop marks effect using Effect>Crop Marks. Crop marks will be created at a distance of 18pt by 18pt from the corners of the second rectangle and 9pt by 9pt from first rectangle, which you originally wanted for a crop area.

If you want to move these crop marks to a custom distance from second artboard, select the second rectangle and choose Object>Expand Appearance, or after drawing the first rectangle, use the attached action (Download file).

The Crop Marks Effect will be expanded, and using the Direct Selection Tool, you can move them wherever you want. The new artboard you created will work as a crop area (please refer to the previous section of Multiple Artboard Tips and Tricks) and the crop area effect will be used as crop marks. Caution: the length/width of crop marks created using the Crop Mark effect will be slightly more than what one would get in CS3 using Object>Crop Area>Make.

Please watch out for our next edition of Multiple Artboards Tips and Tricks to learn interesting ways of emulating Page Tiling in Illustrator CS4.

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