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9A0-088 | Adobe IIIustrator CS4

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9A0-088 - Adobe IIIustrator CS4 - braindump

Vendor ADOBE
Exam Number 9A0-088
Exam Name Adobe IIIustrator CS4
Questions 106 Q & A
Recent Update February 11, 2019
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9A0-088 exam Dumps Source : Adobe IIIustrator CS4

Test Code : 9A0-088
Test Name : Adobe IIIustrator CS4
Vendor Name : ADOBE
Q&A : 106 Real Questions

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ADOBE Adobe IIIustrator CS4

speakme iPad workflows and Adobe’s venture Gemini with illustrator Tracie Ching | killexams.com Real Questions and Pass4sure dumps

For artistic gurus, the prospects of a new artistic tool are particularly entertaining. New tools imply new workflows, and new workflows imply new alternatives to work free from the constraints that grasp returned creativity. one of the crucial promising new inventive equipment on the horizon is Adobe’s mission Gemini, a bold new drawing and portray app arriving on the iPad later this 12 months.

Shaping the future of iPad creativity are the Gemini 10, a small community of creative specialists given unique entry with the aid of Adobe to work with and provide remarks on venture Gemini prior to unencumber. We talked with illustrator and Gemini 10 member Tracie Ching to be trained greater in regards to the new app and how the iPad has converted her work.

With a consumer listing together with names like Disney, Metallica, and Politico, Tracie is widely used for expressive illustrations featuring deliberately stunning color palettes and a recognizable cross-hatching vogue. Her political imagery and picture posters, in specific, have become intertwined with contemporary subculture. After working almost completely with Adobe Illustrator and a Wacom tablet considering the fact that beginning a freelance profession in 2013, Tracie welcomed the iPad seasoned into her workflow this past summer following the recommendation of vector artist Rob Zilla.

“I begun doing a lot more touring over the final two years or so, and i’d be out of fee for a week,” Ching noted. confronted with the need to rebuild her desktop setup with a Cintiq pill and new workspace to accommodate it, the iPad grew to be a compelling alternative. “The Cintiq become definitely certain to simply the one use. however the iPad seasoned had a couple of distinctive use situations, and that truly appealed to me.”

Adobe iPad workflow

Tracie Ching illustrated the entire artwork in this article using challenge Gemini.

Tracie transitioned to the iPad pro the use of Adobe’s Illustrator Draw app, and even created a poster for Disney’s The Nutcracker and the four realms on a long flight to San Francisco. but as a computing device Illustrator energy person, her wants passed what the iOS app might provide.

“loads of it had to do with the availability of definite kinds of brushes, certain shapes,” Tracie mentioned. “As a person who works in really intricate art data, having a layer drawback created some considerations. With past iterations of Adobe Draw, I wasn’t capable of fill or change colorings as without problems as i'll have appreciated.”

When Adobe introduced assignment Gemini at last fall’s Adobe MAX conference, Tracie grew to be a prime candidate to test power the app as a newcomer to the world of iOS illustration. The Gemini 10 had been chosen for their variety in trend, workflow, equipment, and gender. “Our aim was to make sure our Gemini 10 represented a broad spectrum of artists in order that the feedback we obtained represented the needs of several types of illustrators,” Adobe referred to.

project Gemini combines vector and raster brushes with all new clever are living brushes for an entirely pleasing portray and drawing adventure. In an onstage demo at MAX, Adobe’s Kyle Webster previewed watercolor and oil brushes mixing with the fidelity of a real canvas and paint. Tracie says these elements are what drew her to the app.

the brush game in Gemini is past anything I’ve seen. It’s super entertaining for me, somebody who is definitely Illustrator-based mostly. I suppose it’ll be impressive for a lot of people to peer how the comb online game has changed in Adobe’s cellular apps.

Adobe iPad workflowwithin the design industry, it is often spoke of that know-how is at its top of the line when it recedes to the background, enabling for total immersion in the project at hand. Switching between dissimilar purposes during a venture can damage the fragile awareness necessary for inventive work. For Tracie, Gemini has been most transformative because it gathers the equipment she depends on into one workspace and bridges the hole between physical and digital portray.

“as a result of Gemini hosts brushes and capabilities from both Photoshop and Illustrator, I’ve been in a position to move contaminate greater conveniently than i would have sitting at my ordinary rig on my iMac,” Ching notes. “i can draw line work for a face as I normally would, after which in that identical app go appropriate into the huge new brush library and throw it on a heritage that’s really mild and extra like watercolor, or has these truly neat textures that may raise the line work I customarily do in vector. If I did that in precisely the artistic Cloud computing device apps, i'd must switch from one software to one more. In Gemini, it’s all there.”

Adobe iPad workflow

by means of collecting remarks from trade specialists like Tracie, Adobe says it has sharpened Gemini’s focus and contours as the software strikes nearer to launching:

Working with the Gemini 10 has enabled us to optimize workflows for effectivity and identify roadblocks within the adventure. on account of our tight collaboration we were in a position to iterate right now and polish the functionality and believe of the application. The Gemini 10’s wide use allowed us to validate what is most critical to include in a magnificent drawing device.  as an example, with their assist we had been able to design a means that allows erasing with any brush.

whereas a launch date has yet to be set for venture Gemini, which you could sustain with the app’s development by signing up on Adobe’s site.

in the meantime, Tracie offers some guidance for different creative experts when you consider that the merits of a cellular workflow.

if you’re on the fence about making that leap into illustrating with an iPad pro, one of the top of the line issues i will recommend is to stroll into an Apple keep and try it out on the iPad professional itself. There are classes that come preinstalled. It’s manner improved to verify force before making a leap. There are only a few equipment, very few programs that I’ve ever seen that have failed in what i want as a creative.

check out 9to5Mac on YouTube for more Apple news:


Adobe Illustrator | killexams.com Real Questions and Pass4sure dumps

Adobe Illustrator is a image editor that is a part of the Adobe suite of items. it's usual by way of photo designers and artists to create illustrations, charts, graphs, trademarks, diagrams, cartoons of precise photos, and more. Illustrator will also be used on both Mac and windows operating methods.

Getting started

Adobe updates Illustrator CC and InDesign CC with new points | killexams.com Real Questions and Pass4sure dumps

  Adobe on Thursday issued updates for Illustrator CC, which is celebrating its thirtieth anniversary, and InDesign CC, introducing new elements and consumer interface improvements to the professional design software.

announced via Adobe's reliable weblog, Illustrator CC takes a cue from users by incorporating a few highly requested aspects like easy photo cropping, a function up to now achieved by using offloading files to other apps.

With photo Crop, Illustrator CC clients now have the capability to immediately crop pictures placed right into a document with intuitive crop handles. a whole lot like cropping tools offered in different Adobe items, including the flagship Photoshop CC, picture Crop in Illustrator CC comes with size tools and a well-recognized dotted bounding line.

apart from inline image edits, photo Crop automatically discards unused photograph statistics to in the reduction of file sizes and improve universal performance.

other than the brand new cropping alternative, Illustrator CC introduces a colour issues Panel for developing, exploring and saving colour topics for later use. The panel UI also extends to different Adobe apps, providing users consistency throughout a number of systems. for example, topics can also be generated from pictures fascinated by the Adobe capture cell app, that are then pushed to Illustrator through Adobe's cloud.

As for InDesign CC, the doc layout utility got a brand new UI that lets users leap between Adobe apps and flagship cloud features. A redesigned New doc Panel is included for rapidly starting new initiatives with document presets and recent document settings.

extra embedding Adobe CC points into the leading app is integration with templates from Adobe stock, which may also be accessed by way of the new doc Panel.

Adobe's creative Cloud plans beginning at $19.ninety nine per month for single apps like Illustrator CC, while entry to all CC apps comes in at $forty nine.99 monthly.


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Adobe IIIustrator CS4

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Illustrator Recommendations To Help Creatives | killexams.com real questions and Pass4sure dumps

Adobe Illustrator is a vector drawing tool, meaning you can create artwork that can be scaled infinitely without any loss of quality. It’s a fantastic tool for logo design, creating complex vector artwork and playing with illustrated typography design. But coming from Photoshop you may not be savvy with Illustrator and its unique ways: so we’re here to help. In this article, we list some incredible illustrator recommendations to help your creative work.

Illustrator Recommendations Appearance

I always assumed a shape could only have a single fill and stroke in Illustrator, but that’s not the case with the Appearances palette. Open up the slide-out menu and find that you can add as many additional fills and strokes as you like.

Brushing

I always used to prefer drawing with my Wacom pen tablet in Photoshop rather than using the path based Brush tool in Illustrator, but I was always left with raster art that needed Live Tracing. This all changed back in CS4 when the Blob Brush was introduced. Instead of drawing individual paths this tool works much like the Photoshop brush tool, but it instead creates a solid vector shape.

Effects

Illustrator is all about vector artwork that allows for infinite scalability without loss of quality, so it always leaves you puzzled when your design gets super fat or thin when you alter its size. I remember the days when I used to painstakingly reset all my stroke weights, but there’s actually a setting under Preferences that allows you to select whether or not to scale your stroke weights and effect settings with your artwork.

Scissors

I used to use the Pathfinder tool for everything! I didn’t realise that there was a tiny little tool hidden away under the Eraser that allowed you to quickly and easily snip a path without affecting its shape.

Inside Draw

It’s not uncommon to need to draw shapes or details within another object. I would always do lots of trimming with the Pathfinder to delete the excess around the edges or create a special Clipping Path, but there’s actually a button right at the bottom of the toolbar that allows you to draw inside an object while Illustrator automatically masks out the overlap.

Location

We all know about CMD+C and CMD+V for Copying and Pasting, but did you know about the Paste in Place (CMD+Shift+V) Paste in Front (CMD+F) and Paste in Back (CMD+B) shortcuts? Rather than have to realign your new element after it’s dumped in the middle of the screen you can quickly paste it directly into your chosen position.

Builder Of Shapes

Forget about painstakingly Uniting and Subtracting with the Pathfinder tool, you can actually do it all with a handy tool called the Shape Builder. Save yourself hundreds of mouse clicks by simply clicking and dragging between elements to perform the same action.

Pater Libraries

I hate to think of the time I’ve wasted creating simple pattern fills when there was a selection of ready-made patterns available directly in Illustrator. Open the slide-out menu for the Swatches palette and follow Open Swatch Library > Patterns to find hundreds of cool fill options.

Painting

People who enjoy designing characters in Illustrator will be big fans of Live Paint. Before I knew about this clever tool I used to carefully trace my linework with coloured shapes, but this does all the work for you. Quickly fill shapes much like the Paint Bucket tool in other apps.

Appearance

I always assumed a shape could only have a single fill and stroke in Illustrator, but that’s not the case. With the Appearances palette. Open up the slide-out menu and find that you can add as many additional fills and strokes as you like.

Masks

One of the most recent tips I’ve discovered in Illustrator is the use of Opacity Masks. As I discussed at the end of my Letterpress Texture effect tutorial they’re especially handy for adding non-destructive texturing to your artwork.

Final Words

There’s a lot of other illustrator recommendations that well need to explore in the future articles and I would love to know if you have any other tips to improve the design, feel free to let us know in the comments section down there.


Adobe’s Powerful InDesign CS4 | killexams.com real questions and Pass4sure dumps

September 24, 2008 Adobe’s Creative Suite has set the benchmark in recent times for design and development software for virtually every creative workflow. Each new iteration of the suite of integrated products has been landmark and the new CS4 appears likewise - the new Creative Suite 4 product line advances the creative process across print, Web, mobile, interactive, film and video production. With new levels of integration and expressiveness for Flash technology across the entire product line, Adobe’s Creative Suite 4 software release includes Design, Web, Production Premium, the full “Master Collection”, as well as 13 point products, 14 integrated technologies and seven services.

Adobe Creative Suite Master Collection CS4 combines virtually all of Adobe's new design and development applications, technologies and services in a single box — the most comprehensive creative environment ever delivered.

“Designers and developers are shaping the way that people consume information, share ideas, sell products, tell stories and create memorable experiences — in print, online and via mobile handsets,” said Shantanu Narayen, president and chief executive officer at Adobe. “Whether you’re creating a rich Internet application, a video or a best-selling magazine, Adobe Creative Suite 4 delivers powerful cross-media technologies that have the ability to elevate products, brands and ideas above the clutter.”

Adobe Creative Suite 4 offers unprecedented choice among editions and stand-alone products, with comprehensive support for the most cutting-edge workflows for virtually any design discipline. Customers can choose from six suites or full version upgrades of 13 stand-alone applications, including Photoshop® CS4, Photoshop CS4 Extended, InDesign® CS4, Illustrator® CS4, Flash® CS4 Professional, Dreamweaver® CS4, After Effects® CS4, and Adobe Premiere® Pro CS4.

A simplified workflow in Adobe Creative Suite 4 enables users to design across media more efficiently by making it easier to complete common tasks and switch between mediums without leaving a project. InDesign CS4 includes a new Live Preflight tool that allows designers to catch production errors and a newly customizable Links panel to place files more efficiently. The revolutionary new Content-Aware Scaling tool in Photoshop CS4 and Photoshop CS4 Extended automatically recomposes an image as it is resized, preserving vital areas as it adapts to new dimensions. An expanded version of Dynamic Link in CS4 Production Premium enables users to move content between After Effects CS4, Adobe Premiere Pro CS4, Soundbooth® CS4, and Encore® CS4, so updates can be seen instantly without rendering.

Designers using the Adobe Creative Suite 4 product family will be able to gain unprecedented creative control using the new expressive features and visual performance improvements in Adobe Flash Player 10 to deliver breakthrough Web experiences across multiple browsers and operating systems.

Adobe Creative Suite 4 brings 3D center-stage providing the ability to paint, composite, and animate 3D models using familiar tools. Flash CS4 Professional now offers the ability to apply tweens to objects instead of keyframes, providing greater control over animation attributes. Also in Flash, the new Bones tool helps create more realistic animations between linked objects. With a searchable library of more than 450 dynamically updated device profiles from leading manufacturers, Adobe Device Central CS4 (see separate release) enables users to easily test mobile content designed using many of the Creative Suite 4 products.

Adobe Creative Suite 4 significantly expands access to services available to creative professionals and developers who want to collaborate online. Adobe ConnectNow, a service of Acrobat.com, can be accessed from InDesign CS4, Illustrator CS4, Photoshop CS4 and Photoshop Extended CS4, Flash CS4 Professional, Dreamweaver CS4, Fireworks® CS4, and Acrobat® 9 Pro, allowing real-time collaboration with two colleagues or clients. Designers can also share color harmonies with Adobe Kuler™, which is now accessible from within InDesign CS4, Illustrator CS4, Photoshop CS4 and Photoshop Extended CS4, Flash CS4 and Fireworks CS4. Other online resources include: Adobe Community Help for technical questions; Resource Central for accessing video and audio product-related news and tutorials, as well as Soundbooth scores, sound effects, and other stock media; and Adobe Bridge Home, a customizable resource for tips, tutorials, news and inspirational content.

Adobe Creative Suite 4 and its associated point products are scheduled to ship in October 2008. Estimated street price for the Adobe Creative Suite 4 Design Premium will be US$1799, US$1699 for Adobe Creative Suite 4 Web Premium, US$1699 for Adobe Creative Suite 4 Production Premium, and US$2499 for Adobe Creative Suite 4 Master Collection. Adobe plans to offer tiered upgrade pricing from previous versions. For a limited time, validly licensed customers of eligible versions of Adobe Creative Suite, Adobe Production Studio and Macromedia Studio will be able to upgrade to Creative Suite 4 for the CS3 upgrade price. For more detailed information about features, upgrade policies, pricing, and international versions go here.

Adobe Flash Player 10 is currently available in beta as a free download from Adobe Labs at www.adobe.com/go/astro with general availability expected by the end of the year. Adoption of the previous update to Adobe Flash Player 9 set all-time records by achieving over 80 percent reach on Internet enabled desktops in less than six months and Flash Player 10 is expected to achieve a similar adoption rate.

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Adobe Illustrator CS4 Review | killexams.com real questions and Pass4sure dumps

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  • Polishing a jewel

    I wouldn't want to have the job of coming up with new features for Adobe Illustrator, because it certainly wouldn't be easy to dream up something new for version 14 of the industry-standard vector drawing program. As one of those programs that has been honed and honed to near perfection, it's hard to think of something that it really lacks. Still, there is one missing feature that would come to the minds of the many Illustrator users who have been clamoring for it over the years: the ability to add multiple artboards. Well, it's your lucky year, vector pushers—multiple artboards are finally here. Illustrator CS4 breaks the single document mold pretty well too, letting you add up to 100 artboards of varying sizes. So I guess the big question now is "what else does Illustrator CS4 have?" Here's a short list of the major new improvements:

  • Blob Tool for painting outlined strokes
  • Separations preview
  • New Gradient Tool with transparency in gradients
  • Revised Smart Guides
  • Key objects for alignment
  • Tabbed interface
  • That's a pretty good list, so it seems we've got enough for a review.

    System requirements

    Nothing significant has changed in the program's system requirements. Illustrator isn't using the GPU for screen drawing, like Photoshop CS4. And it's still 32-bit only on all platforms. If your Illustrator documents are using 3+ GB of RAM, then you're doing something wrong. Also, having 32-bit and 64-bit versions would also add further costs to 3rd party plug-in developers; they have a hard enough time releasing new plug-ins for each Illustrator revision for both Windows and the Mac. In fact, I'm worried that Adobe's new shorter release cycle is going to kill off these immensely useful tools developed by small companies.

    Windows
  • 2GHz or faster processor
  • Microsoft® Windows® XP with Service Pack 2 (Service Pack 3 recommended) or Windows Vista® Home Premium, Business, Ultimate, or Enterprise with Service Pack 1 (certified for 32-bit Windows XP and Windows Vista)
  • 512MB of RAM (1GB recommended)
  • 2GB of available hard-disk space for installation; additional free space required during installation (cannot install on flash-based storage devices)
  • 1,024x768 display (1,280x800 recommended) with 16-bit video card
  • DVD-ROM drive
  • Mac OS
  • PowerPC® G4 or G5 or Intel® processor
  • Mac OS X v10.4.11–10.5.4
  • 512MB of RAM (1GB recommended)
  • 2GB of available hard-disk space for installation; additional free space required during installation (cannot install on a volume that uses a case-sensitive file system or on flash-based storage devices)
  • 1,024x768 display (1,280x800 recommended) with 16-bit video card
  • DVD-ROM drive
  • QuickTime 7 software required for multimedia features
  • Price
  • $599 new
  • $199 for the upgrade.
  • Mobile test system
  • MacBook Pro Santa Rosa Core 2 Duo 2.4 GHz
  • 4 GB RAM
  • Nvidia 8600M 256 MB
  • OS X 10.5.5
  • Desktop test system
  • Mac Pro Quad Xeon 2.66
  • Nvidia Geforce 7300 GT 256 MB
  • 7 GB RAM
  • OS X 10.5.5
  • Illustrator CS4's interface changes

    First, I'll cover the positive interface changes in Illustrator. The Filter menu is now completely gone, which is good since having two Drop Shadow options—one in the Effect menu with a preview and in the Filters menu without a preview—was pretty lame. One Effects menu is enough to house everything, and the Illustrator CS4 vector effects and the Photoshop raster effects are clearly separated within one menu:

    The redundancy and confusion has been eliminated.

    Of course, plug-ins will have to be updated to work correctly with this change, or else they'll show up in strange places:

    A Filters submenu mysteriously birthed into the Object menu.

    I'm not sure why Illustrator CS4 puts that there. While it's nice that some 3rd party filters aren't broken outright, people are going to have a hard time finding them. A submenu should have been added under Effect—it's the first place people are going to look when they see a missing Filters menu. Hopefully it won't be an issue for too long, since developers will eventually update their plug-ins to appear in the Effect menu.

    Spring-loaded panels

    Spring-loading is a pretty easy way to make any interface efficient since it saves clicks and having to jump back and forth. Making it more pervasive throughout applications—especially in graphics apps—is a great idea, but it's relatively unused in Illustrator CS4. The only things I found that used this feature were dragging a swatch into the closed Swatch Palette or dragging a styled element into the Styles Palette. Since there isn't any use dragging elements from the artboard and into the Layers palette for example, CS4's spring-loading seems more like it's the start of something than a finished feature. Still, it's a nice start.

    Appearance panel changes

    There have been some small but welcome changes to the Appearance panel. For people who didn't realize that double-clicking effects in the Appearance panel edits their settings, a single-click edit has been added to the items. More significantly, you can now toggle effects on or off, moving Illustrator one step closer to being as good at layer and effect handling as Photoshop:

    The toggling of effects is great for trying out different things.

    Users will also notice the addition of layer opacity editing at the bottom of the Appearance Palette:

    The Opacity popup displays the same things that appear in the Transparency Palette.

    The Appearance Panel also plays nicer with Isolation Mode to edit objects in clipping masks. All told, the changes are slight but welcome. I think the effect toggling will be especially helpful on a daily basis.

    The tabbed interface: Hate 2.0

    In my review of Photoshop CS4 (which uses the exact same tabbed interface as Illustrator), I detailed the shortcomings of the gimmicky tabbed interface on Windows. On the Mac, the interface is even worse, making it a train wreck that breaks Exposé across the Creative Suite applications. If you want the nitty-gritty of why the tabbed interface is clumsy and unpredictable, read the pages linked above. You can turn off the tabbed interface in Illustrator, but it only half works. If you accidentally drag a document window over another, they will stack as tabbed, regardless of your preferences:

    Sloppy.

    On the Mac side, the other thing you'll notice is the Application Bar that sits below the menus:

    I always thought that I could use less space for work.

    On the Windows side, those few elements in the Application Bar are tucked neatly alongside the File/Edit…/Help menu. While I can understand Adobe's need to have the same tools in the Mac version as are in the Windows version, there's nothing stopping them from adding an icon to a menu bar in OS X:

    Graphic Converter's menu icons aren't pretty, but they don't waste valuable space.

    The Windows CS4 tabbed interface is no winner, but Adobe's laziness with the Mac interface is definitely something new. Unless the tabs can be updated to work with Exposé, they should be off by default on the Mac.

    Updated Smart Guides and alignment

    If you do drafting or logo design, then Smart Guides are important for keeping things aligned without having to resort to using a grid or guides. The original Smart Guides were a nice start, but they left a lot of room for improvement. With CS4's Smart Guides, there are some big changes:

  • rollover anchor-point coordinates
  • a distance overlay when dragging
  • more cross-referencing of object borders and midpoints when snapping
  • Together, these make for a more refined workflow for dealing with finicky elements:

    The handy anchor point overlay for precision work.

    If you are dragging an object, the sides of the object snap to align to other object centers or sides:

    Smart Guides showing the offset while snapping to an edge. This was in previous Illustrator Smart Guides but it wasn't as full-featured.

    The distance overlay is a small-but-great change that lets you keep an eye on your work while getting a live feedback of transforms, including rotation and scaling:

    It's not a bug—the angle shown is relative to where I clicked to rotate.

    The revised Smart Guides are very helpful, and while they won't replace CADTools for serious drafting, they are a huge improvement over the previous incarnation. They also work with the new multiple artboards.

    Key object alignment

    In previous versions of Illustrator, your options for aligning and distributing objects were limited. Often, you wanted to align and distribute objects relative to one another or to a specific position and there was no way of doing this. You were typically forced to use guides as reference points, and then realign things after distributing or aligning them. This is where key objects come in. You select multiple objects, click one of the objects again to assign it as the key object, and your alignment will be done relative to that one:

    Using the N as a key object when spacing my type evenly. Click for animation.

    You can even set a guide as your key object:

    Click for animation.

    If you need a single arbitrary point to be the reference point, create a single anchor with the pen tool and click it to make it the key object. Since rhythm and spacing is a big part of clean typography, CS4's Smart Guides and key object will make working with type and logos a lot easier. The key object is a simple addition to Illustrator's toolset, but once you get into using it, you'll wonder how you ever did without it.

    Multiple Artboards

    This is definitely the headlining feature of Illustrator CS4: you can finally have up to 100 different-sized artboards in one document. Artboards can be made in two ways: multiple matching art boards can be made from a New Document dialog, or you can interactively create them by using the Artboard Tool. The first method uses the standard New Document dialog that has been updated with a few additions for artboard count, stack ordering and spacing between the artboards:

    The right-facing arrow in this dialog reverses artboard stacking direction. This affects print/export order.

    The resulting document:

    The spacing is small because it was set to 0.28" above.

    The second way to make more artboards is to use the Artboard Tool:

    The Artboard Tool replaces the Crop Area Tool introduced in Illustrator CS3. It works basically the same way, except instead of making cropped areas within an artboard, you make artboards. Drag a marquee to create your new artboard, or use the Control Palette to specify a size numerically:

    There's nothing more frightening to a graphic artist than a blank business card.

    As you can see above, when you're using the Artboard Tool, each artboard's number is displayed with a close widget on the top right. The bleed setting—like color space—cannot be changed across artboards and is set in the New Document/Document Setup dialog. I don't think that this is too limiting, since you'd never send a multi-page document to a printer expecting more than one bleed size.

    To keep things nice and tidy, the Artboard Tool works with the Smart Guides for easy alignment of multiple art boards:

    Dragging and copying a business card artboard template. The bleed is created automatically.

    So you know which artboard is active when working, Illustrator darkens the edge of the active artboard:

    Inactive and active artboard edges.

    Once the artboard is constructed and you have elements placed inside the board, content can be moved around with it by turning on the Move/Copy Artwork with Artboard button in the Control Palette:

    If you have this option on, be careful when arranging artboards to not overlap any content from other artboards. You'll end up moving the content in both artboards. The Move/Copy Artwork with Artboard is on by default, so I'm sure a lot of people are going to be cursing this invisible glue until they realize how to turn it off.

    Navigating multiple artboards

    While you can still use the Navigator Palette to jump around the document without reference to artboards, page fitting is artboard aware. The revised View menu will let you deal with all artboards as a whole or based on which one is selected:

    If you have a lot of artboards and want to go to a specific one, there is a handy popup at the bottom left of the document window:

    The text field at the left can also be used as a "Go To Page X."

    So you have a good combination of the freedom of Illustrator without adding the clutter of an Indesign-style Pages Palette.

    Multiple artboard printing and export

    Since these new documents are trickier to deal with when exporting or printing, Illustrator CS4 has some additions to the output options for multi-page docs. When printing, the usual suspects from Indesign are there—print range, skip blank artboards. You can also choose to ignore artboards altogether to get a big sheet of images, which can then be tiled or fit to your page as a whole. And even though you can't print spreads—understandable given that documents can be different sizes—you won't be left wanting more when printing from Illustrator CS4. Document exporting, on the other hand, isn't quite as perfect. While you can export to various raster or vector formats and handle all or selective pages, you can't export pages as separate PDF files. I use Batchoutput with Indesign for this since our online prepress system needs single-page PDFs. The lack of separated PDF output with Indesign is more forgivable, since you can't make separately sized documents, but Illustrator CS4 is built to let you make a whole kit of brochures and business cards in one document, so it's essential that it let you output to separate files.

    Aside from the export gripes, I only have three minor complaints about the multiple artboards implementation in Illustrator CS4:

  • There are no user-creatable presets. This was my complaint about CS3's Crop Area tool and it's the same with the Artboard Tool.
  • You can't set the size parameters or move multiple artboards at once. Shift-selecting doesn't work.
  • Isolation of your work when using multiple artboards is a mixed bag.
  • The first two points combined mean that if you need to change all page sizes for a brochure, you'll need to select every artboard manually and then type in your size for each.

    The third point about isolating work and selections is going to be harder to work around. There is a Select All in Active Artboard option in the Select menu:

    But you can't select only the inverse on your active artboard or constrain the magic wand to select only within the active artboard. If you're working on a complex illustration where a lot of this is done, you'll have to lock or hide everything outside your main artboard to work efficiently. There needs to be a toggle for constraining selection to active artboards since adding redundant "Select Inverse/Same/etc in Active Artboard" menu items would be an eyesore.

    In the end though, the multiple artboards feature has been really well executed overall. For my work, where I'm often working on an English and French version of a design simultaneously, having the ability to create multiple versions and adjust colors and fonts across everything in one document is a huge time saver. Normally, I'd be scared to put all my eggs in one basket, but Illustrator documents have always been stable for me, and I have little worries about document corruption killing all my work. In sum, if you've been waiting for multi-page documents in Illustrator, then you're going to be very pleased with the job that Adobe has done with it in CS4.

    New tools

    Illustrator CS4 introduces a few new tools; nothing major, but they're a move in the right direction.

    Blob brush

    One of the main difficulties of working with brushes in Illustrator is dealing with the paths that they create. What you see as a nice swath of ink is actually a bunch of overlaid paths with varied strokes:

    For the most part, this doesn't cause any problems, but if you want to do something like mask an image within the ink, then you've got to use workarounds. The normal way to address this is to use Flatten Transparency and then do a Pathfinder unite on the results to get something solid. The Blob Brush does away with the workaround by just outputting outlined strokes that automatically combine when overlapped. The strokes are tablet pressure-sensitive, and if you enable Selection Limits Merge in the tool options you can control what is merged together while painting. The results are clean, outlined strokes with no extra work:

    That's ready to use as a clipping mask. The tool works very well doing what it was designed for, but as a brush, it's very basic. It only has basic calligraphic brush settings:

    The Blob Brush can't use custom brushes, so you'll still need to keep that workaround handy if you're using splotchy ink brushes.

    As a result of these limitations, the Blob Brush is a bit late to the party to be an essential tool. Since complex stroked lines were really only a problem before you could flatten them, it feels like this was something that would've been essential in Illustrator 7 but is now only convenient. Still, the Blob Brush will fill a needed gap when you need something organic quickly and don't want to deal with transparency flattening and Boolean operations; but it's too limited to do it all.

    Separations Preview

    You can only tell how something will really print by looking at the final composited color channels, and I use the Separations Preview in Indesign to troubleshoot overprints when prepping things for press. Illustrator CS4 adds a Separations Preview Palette, but aside from the option to see your individual color channels, the similarity between the two apps' tools ends there. For some reason, there is no color readout or ink limit warning in Illustrator's Separations Preview, making it far inferior to the one in Indesign. If you wanted to make sure that you're under your max ink density in Illustrator CS4, you're still going to have to get a calculator:

    A rich black overprint on a 100M 100Y red. The total ink is 350%—well over the max density standard for web press.

    Place the same file in Indesign and not only do you get a composited color reading, you can get a warning that you're over the user-set max density:

    Indesign ink limit warning with color readout. This saves you money and phone calls from the guy at your prepress.

    Without these two crucial options, the Separations Preview in Illustrator offers little advantage over just turning on the legacy Overprint Preview. I'm not sure how it was conceived to port this feature without its most useful tools, but there it is. This feature hits the nail squarely on the thumb. I really hope a complete version of the Separations Preview comes in a point update.

    Flex web development additions

    Flex is Adobe's set of technologies for developing rich internet applications. I don't know how to work with Flex myself, but some people will be interested in Illustrator CS4's support for Flex extensions.

    Gradient tool

    The most significant tool change in Illustrator CS4 is definitely to the Gradient Tool. In CS3 and before, gradient creation was finicky: you'd select your object, assign a gradient swatch and then use the Gradient Tool to drag the angle and length of the gradient across your object. You'd never get it right the first time, so you'd likely spend the next minute or two dragging haphazardly, attempting to get something close to what you want. I'm happy to report that working with gradients in CS4 is no longer the hit and miss process it once was.

    Once your gradient swatch is added to an object in Illustrator CS4, clicking it with the gradient tool invokes an interactive gradient slider over your object. The angle, length, colors, midpoints and transparency (yes, I said transparency) are all available right inside the interactive gradient bar:

    Leveraging PostScript 3 for output, transparency in gradients is now finally a reality in Illustrator.

    Of course, you can still use the Gradient Palette if you want to specify angles and midpoints numerically. Transparent areas also show up correctly in Indesign for placed artwork, so the whole implementation has been well thought out. I can't say enough good things about the new Gradient Tool—it is perfect and will save hours of failed attempts at finding the right angle and length. If you use gradients and Illustrator a lot, this is one big reason to upgrade.

    Conclusion

    Depending on your needs, Illustrator CS4 is either a must-have upgrade or a meager update. If you need multiple artboards and you work with gradients a lot, then run out now and buy this. If you don't need those things, then the other additions—revised Smart Guides, Blob Brush, etc.—aren't much of a reason to spend your money. It's clear that with the shorter development cycle, the tabbed interface was meant to be a "revolutionize once, implement in all" feature for the Adobe Creative Suite apps; but it is a failure. If you are a potential new user, Illustrator CS4 is an amazing program with no real professional competition, so I fully recommend it if you need a vector illustration app. It's still a great tool to work with, yeah and it's getting marginally better every year. Let's just hope the plug-in devs can keep up.

    The Good
  • Multiple artboards are well executed and very intuitive
  • Smart Guide changes are welcome
  • New interactive Gradient Tool with transparency
  • The Bad
  • Can't export all pages as single-page PDFs for multiple artboards
  • No ink limit warning or color readout for Separations Preview cripples the tool's usefulness
  • The tabbed interface is not a good alternative to Exposé on the Mac
  • The Ugly
  • Considering that designers value screen real estate as if they grew each pixel themselves, the Mac Application Bar is going to have them shaking their fists and yelling "Adoooooooobeeeeeeeeeeeeeeeeeee!"


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