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9A0-043 - Adobe Illustrator CS 2 ACE - Dump Information

Vendor : ADOBE
Exam Code : 9A0-043
Exam Name : Adobe Illustrator CS 2 ACE
Questions and Answers : 67 Q & A
Updated On : April 17, 2019
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9A0-043 Questions and Answers

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9A0-043 Adobe Illustrator CS 2 ACE

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9A0-043 exam Dumps Source : Adobe Illustrator CS 2 ACE

Test Code : 9A0-043
Test Name : Adobe Illustrator CS 2 ACE
Vendor Name : ADOBE
Q&A : 67 Real Questions

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ADOBE Adobe Illustrator CS 2

Adobe Illustrator CS2 DVD working towards now shipping | killexams.com Real Questions and Pass4sure dumps

Magnet Media Digital Media training series (DMTS) has launched inside Adobe Illustrator CS2: assignment-primarily based working towards, an interactive self-paced working towards DVD for this photographs application. “during this new training, Adobe certified instructor Jeff Witchel, gives step-by using-step guide on Adobe Illustrator CS2 together with Blends, outcomes and new elements like reside hint and live Paint, so that viewers can master the latest how to create property without delay and efficiently.  most of the points discussed are completely undocumented, and are certain to reduce time and creation expenses from initiatives.  The working towards is acceptable for all clients in any respect ability ranges.” internal Adobe Illustrator CS2: project-primarily based practicing is priced at US$ninety nine, and a free lesson is purchasable.


First seem to be: Illustrator CS2 gets creative | killexams.com Real Questions and Pass4sure dumps

or not it's no longer frequently that a single new device can actually radically change the way you use an utility--above all a software as venerable as Adobe's Illustrator (a vector-drawing mainstay considering 1987). but when your digital art projects ever start with a scanned common drawing, Illustrator CS2's live hint feature truly does change every thing. are living hint and a linked function called are living Paint are the most wonderful new hints in an upgrade that adds loads of worthwhile stuff, although it additionally leaves just a few issues undone.

Illustrator CS's new reside hint and are living Paint aspects assist you create digital drawings that delivery with pen and paper--and that in no way lose their hand-drawn seem to be.Illustrator CS's new are living trace and reside Paint features support you create digital drawings that start with pen and paper--and that in no way lose their hand-drawn seem.With a single click on, live trace can flip an imported bitmap picture into vectors for you to edit simply as if you'd created them from scratch in Illustrator. it really is an important advance over old versions, which provided best a rudimentary Auto trace feature. And it eventually renders Streamline, Adobe's growing old $129 stand-on my own tracing utility, officially obsolete.

What's most wonderful about live hint, even though, is rarely how convenient it is, but how respectable the consequences are: It replicates ordinary line drawings as vector illustrations with miraculous precision. (A sketch I did with a ballpoint pen nonetheless appeared pleasingly scratchy as a reside hint vector image.)

you can fiddle with reside hint's settings if need be, however I hardly ever had to, since it produced pleasing results with the default alternate options. Adobe brags that live trace's handiwork "opponents that of the most skilled Illustrator artist." Judging from my adventure with the characteristic, it truly is no hype.

simply Add live Paint

continually, in case you apply colour to an Illustrator drawing, you might be working with dissimilar layered objects, which right now develop into unwieldy with complicated images. Illustrator CS2's live Paint takes a unique approach by using treating a drawing as a single object with distinctive areas, every of which that you can color one by one. among other issues, this lets you add color to scanned black-and-white line drawings straight away and accurately.

Ingenious settings in reside Paint called gap options solve an age-old difficulty with scanned paintings whose lines don't all end in seamless intersections. in the past, such drawings have been challenging to color accurately in an illustration software. but gap alternate options can intelligently fill in broken lines for you, so the color does not spill out--or it will possibly easily fill a shape with colour as if the hole wasn't there at all.

live Paint can also produce an attractive impact with drawings you've created from scratch in Illustrator, but it has one massive gotcha: It is never suitable with all of Illustrator's other consequences. for instance, in case you use any of Illustrator's nifty brushstroke effects on a shape, after which convert the shape right into a are living Paint object, the brushstroke will revert returned to a undeniable line.

I always could devise workarounds to get the effect i needed. still, doing so can get complex--which flies within the face of reside Paint's aim of creating things less complicated.

Suite Enhancements

Illustrator boasts numerous other new capabilities, reminiscent of its skill to retailer artwork in new variants of the SVG file layout, which are designed for telephone-cell content material. but past live hint and are living Paint, Adobe has more often than not focused on making the software work more desirable with Photoshop and other artistic Suite 2 applications. for example, you can pull up Photoshop's results Gallery from inside Illustrator, letting you browse, observe, and tweak graphic filters on the fly. Illustrator CS2 additionally supports Photoshop's Layer Comp option, which allows you to store varied models of a picture in a single file.

Like Photoshop and the other CS2 apps, Illustrator uses Adobe's new Bridge software to wrangle media files. Bridge is effective, but I found leaping from side to side between it and Illustrator to be a bit unwieldy. (That can be much less of an issue if the transport edition of inventive Suite is snappier than the beta I used.) I additionally found that Bridge did not display SVG portraits accurately, however Adobe says that this difficulty may still be fastened within the shipping version of the application.

Illustrator CS2 would not simply play more advantageous with Photoshop--it also looks extra find it irresistible, because of its adoption of Photoshop's control Palette. This context-delicate toolbar offers brief entry to applicable settings and alternatives for the tool you're using in the mean time, letting you spend less time burrowing round in Illustrator's multiplicity of crowded palettes.

The manage Palette will support Illustrator newcomers develop into productive more rapidly, and even historic execs should appreciate it. but it surely does not resolve all of Illustrator's usability considerations (if you can determine what the icon for hole alternatives is supposed to signify, you're smarter than i'm). All in all, CorelDraw nevertheless presents the friendliest interface among the many main illustration courses.

talking of CorelDraw, each it and Macromedia Freehand cost $one hundred under Illustrator. Yet they each allow you to create assorted-web page documents, whatever thing that Illustrator nonetheless can't do after 18 years. Nor does Adobe's app in shape its rivals' Visio-style points for abruptly constructing flow charts and different technical diagrams.

One ultimate criticism: Illustrator's equipment for creating 3D objects, brought within the old edition, haven't modified. they're artful and useful as is, however there may be a number of room for growth. (The rendering pleasant, for instance, is still incredibly crude compared to full-blown 3D packages.)

eventually, Illustrator CS2 is most excellent as a part of artistic Suite 2. As a superb artists' tool that's neatly built-in with Adobe's other courses, it in fact lives up to both the "creative" and "Suite" materials of the proposition.

The rest of the Suite

listed below are hyperlinks to our reviews of the other materials of Adobe's creative Suite 2 premium:

Adobe Illustrator CS2

This expensive, but effective illustration program shines as a component of Adobe's artistic Suite 2.list: $499 stand-alone ($169 improve for owners of old versions; $349 upgrade for CorelDraw and Freehand house owners); also part of Adobe inventive Suite 2: $899 (normal), $1199 (top class)current expenditures (if obtainable)

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Adobe artistic Suite 2.0 premium (windows) | killexams.com Real Questions and Pass4sure dumps

Adobe inventive Suite 2

With inventive Suite 2.0 (CS2), Adobe integrates its photo and design ambiance accessories into one neat equipment in order that photograph designers can share files more without problems amongst applications. protected are up to date models of Photoshop (photograph editor), Illustrator (photo illustrator), GoLive (net fashion designer), InDesign (layout clothier), and Acrobat 7.0 professional (web publisher)--all of which can be found one by one. The main talents of this suite, despite the fact, is its means to share photographs produced in one app with one other app. edition Cue 2.0, a file management app, maintains version control, whereas Adobe Bridge, a new app, permits designers to synchronize color settings during the suite and preview photographs from inside any creative Suite program, even if or no longer they have been created by using that app. The suite also contains entry to Adobe's library of stock photos.

Upside: New to Photoshop CS2 are Vanishing element, a visible adjustment device; sensible Objects, a feature that permits for nondestructive modifying of photographs; and digital camera raw three.0, a plug-in that provides entry to a lot of native digital digicam specifications. Illustrator CS2 ships with are living trace, a device that coverts scanned line art or bitmap photographs into vector-based drawings for modifying. InDesign CS2 elements better control of prosperous black and CYMK (cyan, yellow, magenta, black) values. GoLive CS2 offers more internet necessities help, including XHTML and SVG-t for cellular-enabled pages. And Acrobat 7.0 professional allows comments within PDF data for crew collaboration.

downside: unfortunately, Adobe nevertheless hasn't thoroughly built-in ImageReady CS2 within Photoshop CS2, an obstacle for some. As in Photoshop, that you could set custom-made work areas inside Illustrator CS2, but in contrast to Photoshop CS2, no preset work spaces are supplied inside Illustrator CS2, so that you'll have to create all of them from scratch. We observed a moderate file incompatibility between InDesign CS info and InDesign CS2 info. We feel there are too many pallets floating across the GoLive interface. And, common, the artistic Suite 2.0 package is not for old hardware; you are going to want a fine looking powerful computer to run everything.

Outlook: despite its normal measurement and few misses here and there, through offering more suitable integration of all of the suite's applications, Adobe offers current clients and newcomers a purpose to purchase creative Suite 2.0: greater efficient work move. notwithstanding you are now not part of a network or a collaborative group, the convenience of gaining access to data inside apps other than the one which created them is still price the price. check back presently to examine our full assessment of every app within this suite.


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Adobe Illustrator CS 2 ACE

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Optimizing Photoshop CS2 | killexams.com real questions and Pass4sure dumps

Most people would prefer not to see the spinning beach ball when working in Photoshop. Although eliminating it is not always possible, you can go some way toward doing that by managing your resources wisely. To that end, it’s worth spending a few minutes fine-tuning Photoshop to squeeze the maximum performance out of it.

Adjusting cache levels

When you view an image in the document window at anything less than 100 percent magnification, Photoshop can use low-resolution cached versions of the 100 percent view for speedier redraws. This can be helpful if you constantly work on large images and you need to zoom out frequently. However, it will take longer to open files while Photoshop creates the low-resolution previews.

You can specify the number of cache levels in the Preferences: Memory & Image Cache screen (press Command-K to open the Preferences dialog box). The higher the number of cache levels, the more resources Photoshop needs to consume. If you have limited RAM or scratch-disk space, you may wish to set the number of levels to 1 or 2; the default is 4 levels. You can go as high as 8 levels, which will give you cached views at 66.67, 50, 33.33, 25, 16.67, 12.5, 8.33, and 6.25 percent.

Although the cached views can help with speedier redraws, you’ll do well to remember that any reading based on a cached view will be misleading; for example, when you sample a color or use a cached view to judge the effect of a filter, what you’re looking at will not be based on actual pixels. For critical readings, always view the image at 100 percent magnification.

Reducing history states

The History feature has become one of the most widely used in Photoshop. Its major downside is that it’s another resource hog.

But you can change several options to conserve and stretch your resources. The first one is the number of History states that Photoshop saves in RAM or on your scratch disk. The higher the number, the more resources are eaten up. However, the higher the number, the more undos are available to you should you need to step back to a previous state. You need to strike a good balance between a fallback position and the ability to cruise faster.

By default, Photoshop saves 20 History states. You can change this number at any time via the Preferences: General screen’s History States setting. If you find that you rarely go back beyond, say, 10 history states, then reducing the number will allow the saved resources to be used elsewhere. If you find yourself constantly trying to find states that have disappeared from the History palette, then increase the default number and just put up with slower performance, which may not be noticeable if you have small files or if you have large reserves of RAM.

Reducing palette thumbnail size

The palettes also have options that can affect performance. For example, the Layers, Channels, and Paths palettes all store thumbnails by default, and these thumbnails are continually updated as you work on an image. However, to draw and update the thumbnails, Photoshop uses resources that may be gainfully employed elsewhere. If your resources are painfully low, you may want to select None or the smallest thumbnail size. To customize the palette previews, select Palette Options from the palette’s menu and then choose an option that suits your needs (see “Losing Thumbnails”).

Losing Thumbnails Palette previews consume resources. Select None or the smallest thumbnail size to conserve them.

Do you really need that snapshot?

You can set other options that affect performance by selecting History Options from the History palette menu.

The first two options in the History Options dialog box, Automatically Create First Snapshot and Automatically Create New Snapshot When Saving, are the ones that consume extra resources.

The first option is actually quite handy, even if it does consume extra resources. It can get you out of a tight spot if you accidentally flatten a multilayered file or press Command-S but don’t discover your mistake until well into the editing session, by which time the earlier states will have been overwritten, including the first state. When you click on the snapshot, the document will revert back to the state it was in when it was first viewed in Photoshop, which may not be the same as the version on disk if you changed its color profile in any way when you opened it.

The second option (Automatically Create New Snapshot When Saving) is one that you can probably live without; you’ll have to decide whether to take advantage of it. Just remember that it will consume extra resources if enabled.

Assigning RAM

All the software on your computer, from the operating system to applications to widgets, relies heavily on RAM for speed and efficiency. Photoshop can guzzle RAM the way a Mercedes G500 guzzles gasoline. So you need to give it as much RAM as you can possibly afford. The key word here is afford because the operating system also needs a plentiful supply of RAM; therefore, it’s a bad idea to starve it while indulging Photoshop.

Photoshop gets its share of RAM from the figure allocated to it in Preferences. When it has used up its allocation, it pages out the data to the hard disk (allocated to it as the scratch disk in Preferences), and the result is that it runs more slowly. Knowing this, you may be tempted to max out the RAM allocation at 100 percent in order to make it run faster. Not a good idea! Allocating too much memory to Photoshop may slow down performance by forcing the operating system and Photoshop to swap pages in and out of memory. So what amount of available RAM should you allocate? It depends.

A Better Memory If you experience slow performance, try reducing the RAM allocation to 50 or 60 percent in the Memory Usage section of the Memory & Image Cache pane of the Preferences dialog box.

Photoshop can use a maximum of only 4GB of RAM. This limitation is imposed by hardware, operating systems, and some other things that only geeks and engineers with degrees in astrophysics understand fully. Suffice it to say, if you have 4GB of RAM, or more, installed, you can safely increase the RAM allocation to 70 percent. Doing so will ensure that Photoshop uses as much RAM as it possibly can, up to the 3.7GB limit (or thereabouts, because the OS will reserve some of the 4GB for itself). If you do not have more than 4GB of RAM installed, you should reduce the allocation to about 50 or 60 percent, especially if you are experiencing slow performance in Photoshop, which includes Camera Raw. To allocate RAM, go to Preferences: Memory & Image Cache and specify a percentage in the Memory Usage section of the dialog box (see “A Better Memory”). You will need to restart Photoshop before the revised allocation takes effect.

Assigning scratch disks

Photoshop uses a temporary file for storing data and performing computations when there is insufficient RAM. It places this temporary file, or scratch disk, on your hard disk, or it can spread the file across several hard disks. When you exit Photoshop, this temporary file is deleted, and a fresh one is created the next time you launch Photoshop.

By default, Photoshop uses your startup hard drive as the location for the scratch disk. This is something to be avoided because it can hinder performance if your OS also uses that drive for its virtual memory needs. Because OS X uses the startup drive to place its paging file, you are almost guaranteed conflict on a Mac. To overcome this potential conflict of interests, you can tell Photoshop which hard disk to place its scratch disk on—provided, of course, that you have more than one hard disk installed in your computer. If you have just one disk but it’s partitioned, selecting a partition different from the one containing the OS virtual memory files won’t speed up performance. In fact, performing some operations may even take longer because the read-write heads will have to travel farther.

This article is an excerpt from Hacking Photoshop CS2 , by Shangara Singh (2005; reprinted by permission of Wiley Publishing).

You can assign scratch disk(s) in the Preferences: Plug-Ins & Scratch Disks screen. It’s possible to assign up to four hard disks, or partitions, and Photoshop will see them as one large storage space for the temporary file. Photoshop supports up to 64EB (an exabyte [EB] is equal to 1 billion gigabytes) of scratch-disk space—more than sufficient for most needs!

Regardless of the number of hard disks you assign, make sure the minimum size is three to five times the RAM allocated to Photoshop. Furthermore, the hard drive should be fast, and if it’s partitioned, the first partition should be assigned. Do not assign removable media, such as a Zip drive, or a network drive as a scratch disk. If you assign dedicated partitions that do not store any other files, defragging should not be required.

Needless to say, the more space you can spare, the lower the likelihood that you will encounter the dreaded “Scratch Disk Is Full” error message at a crucial moment. l

[ Shangara Singh is a Photoshop ACE (Adobe Certified Expert) who has written and designed study aids for Adobe Photoshop and Illustrator proficiency exams. ]


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Magnet Media Digital Media Training Series (DMTS) has released Inside Adobe Illustrator CS2: Project-Based Training, an interactive self-paced training DVD for this graphics application. “In this new training, Adobe Certified Instructor Jeff Witchel, gives step-by-step instruction on Adobe Illustrator CS2 including Blends, Effects and new features like Live Trace and Live Paint, so that viewers can master the latest ways to create assets quickly and efficiently.  Many of the features discussed are completely undocumented, and are sure to cut time and production costs from projects.  The training is appropriate for all users at all skill levels.” Inside Adobe Illustrator CS2: Project-Based Training is priced at US$99, and a free lesson is available.


Adobe Illustrator CS3 | killexams.com real questions and Pass4sure dumps

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  • The poster child

    Adobe Illustrator CS3 Manufacturer: AdobeOperating system support: Windows XP SP2, Vista Home Premium or better, Mac OS X 10.4.8Price: Illustrator CS3 full version: $599; upgrade from Illustrator 10, CS, CS2, CorelDraw, Freehand 9, 10, or MX: $199 (shop for Illustrator CS3)

    Overall, the transition to Mac OS X was relatively smooth, but one of the rough periods for professional graphic designers was Illustrator 10. This first native OS X version was the poster child for reasons to wait to move to Mac OS X on older hardware, since everything was glacially slow compared to Illustrator 9 on OS 9. This wasn't all Adobe's fault, and there were worse culprits for sure.  Eventually, updates made it incrementally faster, and with version 12, it was finally zippy enough to run on a first-gen G5 without feeling like you were designing in bullet time.

    Okay, it wasn't that bad, but Adobe knew it had issues with the older code; with CS3, they've completely overhauled the drawing engine to get a much larger boost and bring an end to any nostalgia for the speedy—yet crashy—days of yore. Of course, this update also comes with Universal Binary Intel Mac support, a new interface, and some things called "new features" that we'll also take a look at. So without further ado...

    System requirements Mac OS X
  • PowerPC® G4 or G5 or Intel processor (single or multicore)
  • Mac OS X v.10.4.8
  • 512MB of RAM (1GB recommended)
  • 2.5GB of available hard-disk space (additional free space required during installation)
  • DVD-ROM drive
  • Windows
  • Intel® Pentium® 4, Intel Centrino®, Intel Xeon®, or Intel Core™ Solo/Duo (or compatible) processor
  • Microsoft® Windows® XP with Service Pack 2 or Windows Vista™ Home Premium, Business, Ultimate, or Enterprise (certified for 32-bit editions)
  • 512MB of RAM (1GB recommended)
  • 2GB of available hard-disk space (additional free space required during installation)
  • DVD-ROM drive
  • Note that none of the CS3 applications are 64-bit. The Mac version requires more space because of the Universal Binary application format.

    Test hardware MacBook Pro Core Duo 2.0 GHz
  • 2GB RAM
  • Mac OS X 10.4.9
  • Mac Pro 2.66 GHz Quad Xeon
  • 3GB RAM
  • Mac OS X 10.4.9
  • Dual G5 2.0 GHz
  • 4.5GB RAM
  • Mac OS X 10.4.9
  • Illustrator CS3 interface

    As you might have guessed if you've been following the other CS3 updates, Illustrator CS3 now sports the smooth darker gray palettes and handy docking scheme and icons seen in Photoshop and InDesign CS3:

    Click the double arrows to expand the width of the dock to the full docked panel mode

    In this docked mode, all the panels sit linked vertically so that slivers of the desktop no longer distract you from between your palettes. It helps isolate your workspace nicely, and as was noted in our Photoshop review, the new look is very clean and reduces clutter while still giving you access to everything you need to have at your fingertips, maximizing space usage for those of us who do a lot of work on our laptops. The icons themselves are very clear, and most take little work to internalize their meaning. It took me a bit to stop mistaking the Pathfinder icon for the Attributes since both look like a Boolean knockout but that was a short-lived and rather unexciting battle.

    While the organizational benefits of the new scheme are pretty clear, the main problem with them is that, because you tend to jump between palettes in Illustrator a lot, if you use the attached docked palettes, then they all shift around to the point of being a bit confusing.

    Click for animation

    Moving targets are not much fun when you're a fast clicker, so to minimize the shuffle, I use a mix of the undocked, unstacked palettes with some docked icons to things I don't need constant access to. But overall the clarity of the new interface is a welcome change and makes working on a MacBook Pro less cramped for sure. If you like an even more consistent and muted workspace to concentrate on color work, AI CS3 now has an option to set the interface tone to different shades of gray:

    This seems to be a professional app feature that I'd normally like to see, but in Illustrator, I feel like it's a bit inconsistently executed, and the sleekness that you're used to with After Effects or Final Cut Pro gives way to a sort of selective paint bucket effect:

    The darkest gray setting with distracting white fields, edges and dialogs that don't reflect the darker gray scheme.

    That's a far cry from the "welcome to the future" look of After Effects and does a bad job of being less predominant. This is the sort of quick-and-dirty fix you'd expect from a company less competent than Adobe. Hopefully it will be addressed before the next major upgrade.

    Customizable control palette

    Taking notes from InDesign, Illustrator CS3 now features a more robust Control palette to give access to often-used functions, which can be customized to better suit your individual work flow:

    Within the Control palette are a load of contextual options; when you have an anchor point selected, you are given a bunch of new choices within the control palette:

    Aside from being able to control the anchor point's absolute position (cropped at the right), you can convert it to a corner point/smooth point, remove it, connect it to another end point, divide the path at the point selected, or align objects and selected points, which is covered in more depth later.

    When you select an object with an effect on it, the Control Panel presents options for those effects:

    And that's Diebold the Montreal band, not everyone's favorite vote machine maker

    The previous iteration of the Control palette had some of these options (the Type options are largely unchanged from CS2) but didn't go as far as CS3 does in having a one-stop area for the contextual control. My only gripe about the Control palette is that the align options still don't include the distribute options, which is what I reach for half the time I open the Align palette. Otherwise, it's well thought out and makes good use of the space. Illustrator is the kind of program that, if poorly thought out, could consume way too much space with its palettes and control. Thankfully, CS3 does what it can to be powerful, customizable and clean.

    Document profiles

    Definitely a welcome addition, Illustrator now has template profiles that show up directly in the new documents dialog, making it easier to create a web, print, or video document with common parameters for different working scenarios.

    Within those options, there are suboptions for color mode, rasterization resolution, and setting pixel/overprint preview modes to be on by default, as well as transparency grid settings. Note that there is still no nonsquare pixel preview option for video documents.

    If you need to have a custom format, you can make a new document, and once you save it to the New Documents Profiles folder, it becomes instantly accessible in the New Documents dialog.

    My spread format appears in the New Document Profile section. For some reason, it rounds the second decimal place and leaves the third out, even thought it preserves the actual 10.875” height in the document. Somewhere there's a .05 of an inch floating around a black hole.

    All in all, aside from the new CS3 interface panels and docking scheme, it's a little hard to get excited about the interface and document preset/customization options new to Illustrator CS3. They are long overdue, and I've had a plug-in for years that let me save palette positions. This is definitely a case of catching up to what's been pretty standard for a professional graphics app for a while now.

    Tool upgrades

    The majority of time spent in Illustrator isn't usually with filters; it's usually spent just dealing with paths and tweaking, so CS3 hopes to make working more efficient by upgrading the basics—the first of which is anchor point highlighting and picking. The older versions of Illustrator used to pick anchor points based on stacking order as opposed to proximity to the cursor, which is now fixed. Picking is also made easier by highlighting the anchor points and paths as you mouse over them—paths are indicated by a black square next to the arrow and anchor points are indicated by a white square.

    Click for animation

    As you can tell by the animation, this makes working with complex paths a lot easier, and it reduces a lot of redundant selection trying to get to the anchor points you just want to deal with. You can further customize the behavior of this in the application's Preferences:

    For such a simple change, the new anchor point handling really adds a lot.

    Another thing that will definitely please avid Illustrator users is the ability to align and distribute selected points, not just objects. Select any multiple anchor points and watch in wonder as the hamsters inside Illustrator CS3 busily arrange the points when you click align:

    Click for animation

    It's definitely a great addition, but this is another thing that just makes sense to have, and users of the venerable FilterIt plug-in have had this ability for a while now. Sure, it's not exactly fair to say software isn't complete if it doesn't have the equivalent third party plug-in already installed, but aligning selected points is such a basic thing for Illustrator that it's kind of shocking it's taken 13 versions for it to make it into the app. Clearly FilterIt was just filling a basic need here, and it had the added advantage of being a tool invoked by a keyboard shortcut; something you can't do with the align options in AI CS3. Still, for everyday Illustrator use, this is a big plus, so I can't complain.

    Isolation mode

    A significant improvement in illustrator CS3 is its handling of objects and groups/subgroups in the "I think he might be depressed"-named Isolation mode. If you had a group of objects and within those you had subgroups, older versions of Illustrator weren't very good at dealing clearly with this, so CS3 has cleaned up the whole process and makes dealing with subgroups painless.

    A mask group is double-clicked to edit the contents of the mask. Click for animation.

    Checking the top of the window indicates what level you are in within the groups:

    This isolation mode menu is probably familiar to Flash users, and when you've created Flash-ready symbols, this editing hierarchy works much the same as in Flash. Once you've edited one of these symbols in the Isolation mode, the others update accordingly. Isolation mode overall is finally an effective scheme for dealing with many subgroups, and it's going to help clearly manage larger illustrations.

    Eraser tool

    It would seem pretty simple to have an erase tool in Illustrator, but vectors are more complicated than just masking some pixels, so it is pretty understandable that it's new. In older version of Illustrator, if you wanted to cut a flowing brush stroke out of a letter for a logo, it was a multistep process: make a brush stroke over some outlined text with a custom brush, flatten the path so it was outlined, and then do a front-minus-back Boolean operation in the Pathfinder palette. Pretty straightforward in itself, but when you start to add layers and groups to this, it gets complicated. In AI CS3, the eraser tool lets you do this in one brush stroke—while respecting objects on multiple layers and any existing effects:

    It's also pretty sweet for making rounded trims that have a more organic feel.

    If you hold down option/alt, the eraser becomes a square marquee selection that subtracts a rectangle from objects.

    But the eraser tool doesn't work consistently. If you go over a stroked object, you will get mixed results:

    Also, it doesn't do image masks, so if you have a complex illustration, these two limitations will force a bit of a workaround by outlining all strokes. It would have been nice if the eraser tool had this as an automatic option.

    Crop area tool

    While Illustrator already includes the ability to make crop marks for printing output, CS3 now adds a crop tool feature that is used more like a slice but with subtly different usage, and unlike slices, multiple crop areas (created by option dragging with the tool active) do not bite into other crop areas. They're like visual workspaces, and for things like packaging, where it can be a little hard to envision what one fold may look like, it makes short work of previewing that part in context:

    My EP art cropped to the front face.

    The old way was to make four white boxes around your workspace so you could get a feel for what the cropped art would look like. It was pretty ghetto and a big waste of time. Also, you can instantly make a crop area around selected objects. These crop areas can then be used as slices for Save for Web, document bounds for PDF export, or as reference frames for alignment and distribution, so it definitely has the potential to save work.

    But, in what is beginning to sound a little repetitive, the crop tool is just shy of being polished. While it works nicely as a preview for cropped documents, you can't create your own presets, which seems to fly in the face of AI CS3's whole empowering of the user. I do these techno vinyl sleeves a lot, and seeing this long list of video options when I just want a 12"x12" preview crop for the front and the back is a bit annoying:

    My kingdom for a vinyl cover and single page of our magazine preset

    On top of that, crop areas can't be promoted to slices, you can't adjust the color or the opacity of the overlay, and PDFs exported with the cropped areas failed to use bleed or crop marks. Creation of the boxes is finicky, too: they can't be option-dragged like slices, and copying and pasting between sizes in documents is inconsistent and frustrating. For the crop tool to be truly great, it would have the customizable presets of document profiles and the ability to have an InDesign-like 100 percent opaque trim preview. As is, it's a decent tool for art with multiple intended outputs (DVD interface, business card, etc.), but it's needlessly limited.

    Enhanced color features

    Unless you're goth, then you're likely using color in Illustrator, and changes to color features are likely to affect non-vampire professionals. New in Illustrator CS3 is the ability to add a bunch of color swatches from selected objects.

    The resulting swatches are automatically grouped into the new Color Groups in the swatches palette:

    Select all and colors from the selection are added to a newly created Color Group.

    It's a real time-saver and for maniacs that work with giant Laura Ashley-esque palettes, your lives are about to get easier, if a little too floral.

    Live Color

    By far the biggest new feature in Illustrator CS3 are the new color handling tools in Live Color. Anyone who works in color probably spends a good portion of their time trying to find palettes that work together. This is easier said than done, and unless you're Matisse or Warhol, this process can really slow you down. In the past, when I've found myself in a pinch for a good color scheme, I've used third-party utilities or color pickers, but the main issue with these is that when you get their swatches into Illustrator, they often shift since they aren't using the same color tech as Adobe, so that limits their usefulness as aids.

    Thankfully Adobe has picked up the reins, and the color tools in Live Color—which is accessible from the swatches or control palette—are really stellar. Usage of Live Color is best understood by an example. Let's say you're in palette hell, but you know you need at least five colors to complement each other. You could use a color you like as a starting point for a new scheme:

    Experimenting in a non-teen way.

    Colors can be assigned to specify which ones are locked so that any brand colors or pantones can remain untouched while others move. You can save the resulting palette as a color group (indicated in the Swatches palette by a folder at the left), and once you've assigned these swatches to elements, you can further interactively work on the overall color scheme as a whole within your art:

    Editing the color group within Live Color.

    As you can see by all the sliders, knobs, and buttons, Live Color is very powerful, and nothing is overlooked. There really is only one problem with Live Color: it's not in InDesign as well. I use this often enough now for layouts that I've got Illustrator open when doing pages in InDesign, just to toss color ideas around. It's become pretty invaluable.

    DeviceN color support

    On the technical side of color, Illustrator CS3 now supports DeviceN color space for PostScript 3. You can now place duotone or separated Photoshop images in Illustrator and preserve the file's native color space, so this will mean not needing workarounds for separating complex art in Illustrator.

    Flash integration

    Most of the source material for complex Flash files is likely created in Illustrator, so now that Adobe owns Flash, it's fair to say we'll be seeing more integration between the two programs. Aside from being able to export to a static .swf file, you have the ability to open Illustrator CS3 files directly in Flash (but not the reverse) as well as the ability to create Flash symbols in Illustrator. The major advantage of the latter is that the time spent setting up a stage can be shortened by organizing and naming instances for animation.

    Hit F8 and you are prompted by the familiar Flash symbol creation dialog

    You can set the registration of the object so that reference points for animation/rotation will be made easier. Then you can further assign an instance name for ActionScript events:

    And for text, you can set whether the text field is static, dynamic, or input text.

    Creation of fancy loader graphics just got easier

    Once you have your symbols created, you can import the Illustrator itself directly into the Flash stage:

    With our symbols preserved, we're also given the choice of setting our Flash document bounds to the size of the Illustrator document. Once imported, all the layers are preserved, and the names are intact:

    The art is preserved with transparency intact

    This whole process is very smooth and, combined with the Isolation mode, is an elegantly implemented means of dealing with symbols in Illustrator. Unfortunately, it stops just short of helping keep art layout centralized within Illustrator since the import process is a one-shot deal. Flash can't reference the imported Illustrator art like After Effects or InDesign references external documents, so this single import is a committed affair. Also, if you paste a symbol into Flash that has the same name, it doesn't prompt you to replace the existing item. This is more of an issue for Flash, but since the relationship between Flash and Illustrator is tight, it would have been nice to see a deeper integration as optional.

    As it stands, this will save some time for sure, but I can't help feeling like the implementation lacks the vision for a truly integrated scheme. But I can't be too hard on the Illustrator team since the Macromedia acquisition is relatively recent, and restructuring development between the two apps isn't a small affair. I'm sure that given Adobe's huge size, just having a casual conversation between departments requires lawyers to consult the water cooler companies about what Monday joke to use.

    Increased drawing performance

    For Intel Mac users, it won't come as much surprise to learn that Illustrator CS3 is significantly faster than running CS2 in Rosetta, but the good news is that Windows users and Mac users with older hardware will also benefit from the upgrade since the drawing engine in Illustrator has been completely overhauled for speedier rendering. The general consensus on the speed increase is that it's 15-30 percent faster, and testing on my first-gen PPC G5 suggests that vague and untestable figure is dead on—give or take a percentage point. But seriously, folks, it does draw a little faster, and if you're on an Intel Mac, the upgrade is a no-brainer. Performance on my MacBook Pro is extremely good, and it is far faster dealing with complex art than on my Dual G5.

    Conclusion

    I guess you can tell by my tone that it's a bit hard to get excited about the Illustrator CS3 upgrade. What it does, it does well enough, but this is a relatively brief review, and yet I've covered pretty much all that's new to Illustrator CS3. I understand that things like the DeviceN and the new rendering engine are significant under-the hood improvements, and these low-level engineering things likely consumed a giant chunk of development time for Illustrator CS3. But faster rendering, improvements to the Control palette, library handling, document presets and Isolation mode (which is a second take at shoddy subgroup handling) feel like someone trying to sell their new, working bladder as something to get excited about. With the exception of Live Color and the new CS3 interface, the What's New section of Adobe Illustrator CS3 documentation reads a bit like a padded résumé, and what's new is not flawlessly executed (crop area and eraser tools). Based on what I have been able to get in plug-ins for a while and years of personal Illustrator use, it's not hard to come up with improvements that would positively affect a broad range of Illustrator users:

  • Ability to select and move multiple Bezier handles at once (from the now-defunct Vector Studio) or at least deal with Bezier handles like anchor points so that transforms can be repeated for path tweaks. This would make the lives of fontographers and people who make logos a lot easier.
  • An updated 3D tool. Implementing something like After Effects' camera-based 3-D rotation would help make 3D scenes that were consistent instead of having to haphazardly try and match perspectives for individual objects in the scene. Also, adding CADTools or SketchUp-like interactive extrusion features would be a much better approach for creating 3D objects within a scene.
  • Maya-style paint selection and paint attribute weights. Think of how great it would be to be able to brush out the amount of envelope effect on a set of anchor points. Since most effects are live, this would be the next logical step.
  • I don't think it's too much to ask that the bar be set a bit higher for what Illustrator should be able to do. With Adobe's buyout of Macromedia, Illustrator has lost its main competitor (Freehand), and I personally fear that this will create a blinder effect for the Illustrator team. The last thing we want is a software ride on the monopoly train to boredom town, à la a here-unnamed layout application made by a company whose name begins with "Q" that is rapidly losing market share. But I digress.

    In conclusion, the Illustrator CS3 upgrade is good but not great. If you spend a significant amount of time in Illustrator, then the Live Color feature alone is a very compelling reason to upgrade. If you're on an older PPC machine, then the drawing performance improvements are also a boon, and Intel Mac users don't need to debate the need to upgrade. But if you buy, just be prepared for less CS3 and more of a CS2.5.

    Pros
  • Live Color is amazing and does far more than a traditional color wheel
  • Faster drawing engine
  • Very fast on Intel Macs
  • Align and distribute works on points now
  • DeviceN color space support
  • Better integration with Flash
  • CS3 interface is clean and well-organized
  • Isolation mode makes subgroup and object editing a lot clearer
  • Cons
  • Meager upgrade; a lot of what's new feels like modernization, not innovation
  • Gray interface option lacks polish
  • Crop area tool lacks customizable presets and options


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