Click on any phrase to play the video from that point.
[Adobe CS5.5 Evolution Tour] [Recorded in London May 2011]
[Terry White] [Worldwide Evangelist, Design] I'm going to pick up where I left off
and show a few more things for Photoshop IIlustrator and InDesign users.
[InDesign and Illustrator Features] Actually, this time, we're going to start off in Illustrator.
What we're looking at, something we introduced in CS4 actually,
the ability to have multiple artboards, the longest standing,
biggest requested feature in Illustrator's history.
People wanted multiple pages.
So, here we are. Multiple artboards and the ability
to not only have multiple artboards, but to now name those multiple artboards in CS5.
So, we have a new artboards panel that not only allows you to name them,
but it also allows you to rearrange them.
And as you might expect, hey, I can just double click and name my artboard.
That would make sense.
So, we did not do it that way. [laughter]
Instead, you would grab your artboard tool,
select the artboard panel you want, then you double click and name it.
No, you go over to the actual bar here where you would look first,
and you name your artboard there.
So, that falls under the tips and tricks category
because that would frustrate you that you wouldn't be able to name it over there.
Once you name it, you can rearrange them in any order you want,
just be moving them up and down, and of course,
nothing happened in the actual layout until you actually go out
and say "Rearrange artboards."
Once you do the flyout, after you've sorted them the way you want,
you say "Rearrange artboards" and then it will put them in the order that you specify,
number of columns, number of rows, so forth and so on.
So, that was introduced in CS5.
Now, another thing that was introduced in Illustrator CS5,
and this is actually one of my favorite examples to show.
Let's go to my layers here.
I'm going to go to a paintbrush, go to my brushes tool
and go find that brush that we see there, the palm tree brush.
And let's switch over to a more elegant tool.
Let's use the Wacom pen here, and I'm just going to go ahead
and draw a tree.
And so far, so good, just taking a brush and drawing.
Where this fell apart in previous versions of Illustrator
is when you drew the new object larger than the original brush you created it from.
So, if I do this, then you start to see the tree droop or leaves fall
because I'm stretching it beyond what it was originally created at.
And that's the way it's always been, so people just either drew bigger brushes
or lived with it.
Now, let's double click on that brush, and we have something new.
We have my favorite new brush option, Stretch Between Guides.
When I turn that on, I can now manually determine
what areas of that brush will stretch, and more importantly, which areas won't.
When I click "Okay," I now make my little brush, my big brush,
my bigger brush, my Florida hurricane brushes. [laughter]
I get no stretching of the actual top of the tree.
So, longstanding request for that kind of fix.
Now, how many of you draw?
More importantly, how many of you can't draw?
That's easier.
Good. I can't draw, never could.
Never said I could, never pretended I could.
This is actually the first version of Illustrator
in over 20 years that I can actually draw in.
First time. and here's why.
Let's create a new document.
Here's our new document.
And Illustrator CS5 introduced something that makes it easy for me to draw.
Let me first show you how I would have drawn a house all these years.
I would have done this.
I would have done this, that,
that, that, and of course, what good house would we have without a doorknob?
That would have been my house for the last 20 years
because my drawing is two dimensional.
So, let's get rid of all that,
and let's bring up something brand new called the Perspective Grid tool.
The Perspective Grid tool, let's zoom out a little bit here, not that much,
allows me to bring up a default grid for the entire document.
I can adjust it.
I can bend it, move it, twist it, resize it, choose between a 2 point, 1 point,
or a three point perspective grid.
But now, for the first time, once that grid is on the page
I can take any of my drawing tools or my Text tool
and, for example, let's go to the Star tool.
And now, for the first time, if I draw a star, it will be in perspective.
Let's go ahead and actually give it a color.
Actually, I don't see my selections, but we'll do this.
Let's do that.
Okay. It is in perspective.
Not only is it in perspective, when I switch over to my perspective move tool
it actually moves in perspective, so it gets smaller as it goes further out.
It gets bigger as it gets closer to me.
Does it bend around a corner?
No, because that's what you would want. [laughter]
All right, it doesn't bend around a corner,
but I can put it on the other side.
Let's say I want to put it on the opposite plane.
Now, there's a trick for that.
You don't have to delete and draw it over on the other side.
Each one of those planes is numbered, so as you might expect,
the blue plane on the left is number one.
Makes sense. Than that must mean the orange plane on the right is number three, exactly.
[laughter]
Just as you would expect because the one on the bottom or top is number two.
Okay. So, as I begin to move this,
if I press the number three, it moves over to that plane.
I press number two, you didn't believe me, but it goes on the bottom plane.
If I press number one, I'm back on that plane.
So, I can move it to the other plane as I need to.
Now, with that, even with all that power, even with the ability now
to draw in perspective and have things look three dimensional,
even though we're not doing 3D, I'm still not going to do it because I don't draw.
I will draw things flat like this, like I always have.
But now that I have a new perspective grid to work with
I can take those flat objects.
I can switch to the plane that I want them on, and I can now build it after the fact.
And just since it's vector, I can stretch it to what I need it to be
without having to draw it that way or envision it that way from the start.
But of course, if you're more talented than I am, which many of you will be,
you can go ahead and draw in perspective with ease.
Cool?
I heard some very cools.
That is an option.
So, now that we have this, the first time I ever showed this
I got a Twitter comment immediately, like the guy went home and tried it and said
"Hey, I did that and it worked, but when I moved the perspective grid to a different spot
my artwork didn't move" and I said "Yeah."
Right, because when you move your guides your artwork doesn't move.
These are guides. These are 2010 guides.
So, it's not supposed to move your artwork with the guides.
That's why you can make new ones or reposition or rebuild it each time
you want to make a new drawing, like the stairs were drawn with a different perspective grid.
Because you only get one perspective grid per document.
So, you keep reconfiguring it for what you want to draw.
Okay, and your artwork stays in place. Next.
This is going to solve the age-old debate that engineers have had for years.
Engineers have sat in rooms, sat in meetings, and thought for years.
When customers asked us to give you dashed lines we did it,
and there is some engineer somewhere, probably in the San Jose area,
that is very proud of those dashes because those dashes
are mathematically perfect.
There is a dash here that is set to 8.39 points.
And if I were to get out a ruler and measure it, each dash would be 8.39 points,
mathematically perfect.
But it doesn't look good.
Look at the corners. Look at each corner.
The dashes don't meet up, even in the same spot
because although the dashes are mathematically perfectly spaced apart,
the arrow isn't.
So, the dashes will never line up where they're supposed to
or where you would want them to.
On every corner, they're going to be different.
So, for years, designers have said "I want it to look better"
and engineers have said "No, you want it 8.39 points, that's what we gave you."
"But I want it to look good."
"No, 8.39 points. Type in a different number."
"But it still won't be the same."
"So? You wanted it mathematically perfect, that's what you got."
So, we finally, in CS5, after 20 years,
gave you a new button, mathematically perfect,
make it look good.
I can press the "make it look good" button or go back to mathematically perfect.
And every time I press the "make it look better" button
there's an engineer that twitches a little in San Jose
because it is no longer mathematically perfect, but it looks good.
Okay, so with that, let's move on to another example
of my inability to draw.
I can trace all day long.
I will trace the heck out of something, but I can't draw it from scratch.
So, I could trace that plane, I know.
I've used Illustrator for 20 years.
I know how to trace an object that I can get on the screen.
But I would never be able to draw that, and if you were drawing that from scratch
using especially a pen, the right amount of pressure would vary the width
of that stroke as you're going around.
You'd make it look more realistic.
I can't do that as I'm drawing because I don't know when to do it
or how much because I'm not an artist.
But after the fact, I can go to my new CS5 Width tool,
and I can now click anywhere along that path and vary the width of the stroke.
And as a tip and trick, if you hold down your Option or Alt key,
it will do it only on one side, and you get the little guitar effect.
[Guitar noise]
You have to make the sound effects.
Okay. So, last but not least in this area,
let's back out of this, go over here.
We want to blow this candle out.
And so, on the count of three.
Here we go. One, two, three.
Everyone blow.
You didn't really think that would work, did you? [laughter]
All right, just go. A joke.
Okay, one, two, three. One more time.
One, two, three, blow.
They did it again. I can't believe they did it again.
They actually thought that would work.
Okay. So, here we go.
I'll blow it out. One, two, three.
Here it goes. It only works when I do it
because I can actually turn the layer off and you can't.
Okay, so now that I have that layer turned off,
if you really did blow that out, what would happen in real life?
You get a little bit of smoke.
Now, if I said make smoke, Photoshop, no problem.
It's pixel based, you'd lower the opacity, you'd get it looking just right.
Vector, this is Illustrator, mathematical lines and curves.
We don't get that nice, translucent smoke look
until we added the new pixel brush technology
or our bristle brush technology in Illustrator CS5.
So, I'm going to go ahead and switch over to one of my layers,
switch to the paint brush, switch to a different color for my stroke
and go to my brushes.
And in my brushes, I have a bristle brush that I created, which you can create your own,
just make it a bristle brush.
And now, because I'm using a Wacom pen,
it even detects the orientation of my pen and barrel rotation of the 60 art pen.
And I can do things like this to get that translucent look
that you could not have done before with just vectors.
And yes, it is one vector path.
It did not introduce a single pixel into my document.
I don't know about you, but I think that's pretty cool.
Okay, thank you.
[applause]
All right, my last 12 seconds, we'll fix this type problem.
So, we have a text problem in InDesign.
The text just looks bad in this spot.
You don't have to read it, you just see all that empty space there
and that just drives people nuts.
So, we can try and do it this way.
We can fix it here by trying to go to three columns.
Eh, eh, eh, eh.
You don't want to design it and someone looks at it and says "Eh."
You want it to look better.
So, to really make that text look better on the left,
we probably want to break it up into two columns in that space.
Fun? Good times?
Enjoy doing that all the time in InDesign?
Copy it out, cut it out, make a new frame, paste it, anchor it in,
put it back. Good times?
Okay. So, let's do this.
Let's go to our text tool, select that text,
and for the first time, I don't have to cut it out.
I don't have to do anything with the frame.
All I have to do is go up to my new Span and Split controls
and say split that into two columns,
and it stays in the same frame.
I did not make any new frames, it just does it.
Now, that created a problem with the terms and conditions headline at the bottom.
That doesn't look right.
It's at the bottom of the column.
It's squinched in one column.
Why don't we just go ahead and highlight that
and simply say span two columns,
and it will automatically reflow everything accordingly
and just span it.
Thank you. [applause]
[Adobe] [www.adobe.com]
