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9A0-057 - Adobe IIIustrator CS3 ACE - BrainDump Information

Vendor Name : ADOBE
Exam Code : 9A0-057
Exam Name : Adobe IIIustrator CS3 ACE
Questions and Answers : 130 Q & A
Updated On : April 19, 2019
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9A0-057 Adobe IIIustrator CS3 ACE

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9A0-057 exam Dumps Source : Adobe IIIustrator CS3 ACE

Test Code : 9A0-057
Test Name : Adobe IIIustrator CS3 ACE
Vendor Name : ADOBE
Q&A : 130 Real Questions

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ADOBE Adobe IIIustrator CS3 ACE

Adobe Illustrator CS3 | killexams.com Real Questions and Pass4sure dumps

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  • The poster baby

    Adobe Illustrator CS3 manufacturer: AdobeOperating system assist: windows XP SP2, Vista domestic top class or stronger, Mac OS X 10.four.8Price: Illustrator CS3 full version: $599; upgrade from Illustrator 10, CS, CS2, CorelDraw, Freehand 9, 10, or MX: $199 (shop for Illustrator CS3)

    general, the transition to Mac OS X become fairly easy, but one of the most tough intervals for expert image designers become Illustrator 10. this first native OS X edition changed into the poster baby for reasons to attend to move to Mac OS X on older hardware, on account that everything changed into glacially slow in comparison to Illustrator 9 on OS 9. This wasn't all Adobe's fault, and there have been worse culprits for bound.  finally, updates made it incrementally faster, and with edition 12, it became finally zippy adequate to run on a primary-gen G5 devoid of feeling like you had been designing in bullet time.

    ok, it wasn't that unhealthy, however Adobe knew it had concerns with the older code; with CS3, they've fully overhauled the drawing engine to get a a great deal higher increase and convey an end to any nostalgia for the fast—yet crashy—days of yore. Of route, this update also comes with widespread Binary Intel Mac support, a new interface, and some issues known as "new aspects" that we'll also take a glance at. So devoid of additional ado...

    device necessitiesMac OS X
  • PowerPC® G4 or G5 or Intel processor (single or multicore)
  • Mac OS X v.10.4.8
  • 512MB of RAM (1GB advised)
  • 2.5GB of accessible tough-disk house (additional free space required throughout installing)
  • DVD-ROM drive
  • windows
  • Intel® Pentium® four, Intel Centrino®, Intel Xeon®, or Intel Core™ Solo/Duo (or appropriate) processor
  • Microsoft® home windows® XP with carrier Pack 2 or home windows Vista™ home top class, business, most effective, or business (licensed for 32-bit editions)
  • 512MB of RAM (1GB suggested)
  • 2GB of attainable challenging-disk area (additional free space required right through installing)
  • DVD-ROM power
  • notice that not one of the CS3 applications are 64-bit. The Mac version requires extra space on account of the widely wide-spread Binary utility layout.

    examine hardwareMacBook pro Core Duo 2.0 GHz
  • 2GB RAM
  • Mac OS X 10.four.9
  • Mac seasoned 2.66 GHz Quad Xeon
  • 3GB RAM
  • Mac OS X 10.four.9
  • twin G5 2.0 GHz
  • 4.5GB RAM
  • Mac OS X 10.four.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 extend the width of the dock to the full docked panel mode

    in this docked mode, the entire panels sit linked vertically so that slivers of the computer no longer distract you from between your palettes. It helps isolate your workspace nicely, and as was referred to in our Photoshop evaluate, the new appear is very clean and reduces litter whereas still providing you with access to every thing you should have at your fingertips, maximizing house utilization for these of us who do loads of work on our laptops. The icons themselves are very clear, and most take little work to internalize their that means. It took me a little bit to stop mistaking the Pathfinder icon for the Attributes when you consider that both look like a Boolean knockout but that was a short-lived and fairly unexciting combat.

    whereas the organizational advantages of the new scheme are relatively clear, the main issue with them is that, because you are likely to leap between palettes in Illustrator a great deal, if you use the connected docked palettes, then they all shift around to the aspect of being a bit confusing.

    click on for animation

    relocating objectives are not much fun for those who're a fast clicker, to be able to reduce the shuffle, i use a mix of the undocked, unstacked palettes with some docked icons to things I don't want regular entry to. however ordinary the readability of the brand new interface is a welcome trade and makes engaged on a MacBook seasoned less cramped for certain. if you like a good greater consistent and muted workspace to concentrate on colour work, AI CS3 now has an choice to set the interface tone to distinct shades of grey:

    This looks to be knowledgeable app characteristic that i'd invariably want to see, however in Illustrator, I consider like it be a bit of inconsistently accomplished, and the sleekness that you just're used to with After results or last cut seasoned gives technique to a form of selective paint bucket impact:

    The darkest grey surroundings with distracting white fields, edges and dialogs that do not reflect the darker gray scheme.

    it truly is a far cry from the "welcome to the future" look of After outcomes and does a bad job of being less predominant. here is the kind of brief-and-soiled fix you would predict from a corporation less in a position than Adobe. with a bit of luck it may be addressed before the next most important improve.

    Customizable handle palette

    Taking notes from InDesign, Illustrator CS3 now points a far better control palette to supply access to commonly-used functions, which can be custom-made to stronger suit your particular person work move:

    within the control palette are a load of contextual options; if you have an anchor factor selected, you're given a bunch of latest decisions within the handle palette:

    other than being able to control the anchor element's absolute place (cropped at the appropriate), that you would be able to convert it to a corner factor/smooth element, eradicate it, connect it to a further conclusion point, divide the route at the factor chosen, or align objects and selected aspects, which is covered in more depth later.

    for those who choose an object with an impact on it, the control Panel items options for these results:

    and that's the reason Diebold the Montreal band, now not everyone's favorite vote computing device maker

    The old new release of the manage palette had some of these options (the type options are generally unchanged from CS2) but did not go so far as CS3 does in having a one-stop enviornment for the contextual control. My simplest gripe in regards to the handle palette is that the align options nevertheless don't encompass the distribute alternate options, which is what I reach for half the time I open the Align palette. otherwise, or not it's neatly idea out and makes decent use of the area. Illustrator is the variety of software that, if poorly idea out, might devour approach too a lot house with its palettes and handle. fortunately, CS3 does what it can to be powerful, customizable and clean.

    document profiles

    really a great addition, Illustrator now has template profiles that exhibit up directly within the new documents dialog, making it less demanding to create a web, print, or video doc with regular parameters for diverse working scenarios.

    within those alternatives, there are suboptions for colour mode, rasterization resolution, and environment pixel/overprint preview modes to be on through default, as well as transparency grid settings. word that there is still no nonsquare pixel preview alternative for video files.

    in case you need to have a custom layout, you could make a new doc, and once you put it aside to the brand new files Profiles folder, it becomes immediately accessible within the New documents dialog.

    My spread format seems in the New doc Profile part. For some purpose, it rounds the second decimal area and leaves the third out, even notion it preserves the precise 10.875” peak in the doc. someplace there may be a .05 of an inch floating round a black gap.

    All in all, other than the new CS3 interface panels and docking scheme, it be a little hard to get excited in regards to the interface and doc preset/customization alternatives new to Illustrator CS3. they're long overdue, and i've had a plug-in for years that allow me keep palette positions. here is basically a case of catching as much as what's been pretty ordinary for an expert portraits app for a long time now.

    tool improvements

    the vast majority of time spent in Illustrator isn't constantly with filters; it be always spent simply dealing with paths and tweaking, so CS3 hopes to make working greater effective with the aid of upgrading the basics—the primary of which is anchor aspect highlighting and making a choice on. The older models of Illustrator used to pick anchor features in accordance with stacking order as adverse to proximity to the cursor, which is now mounted. opting for is also made more straightforward by means of highlighting the anchor features and paths as you mouse over them—paths are indicated through a black rectangular subsequent to the arrow and anchor points are indicated by way of a white square.

    click for animation

    As which you could tell by way of the animation, this makes working with complicated paths plenty more straightforward, and it reduces loads of redundant preference trying to get to the anchor features you just want to cope with. that you could further customise the behavior of this in the application's Preferences:

    For such a simple exchange, the brand new anchor factor managing actually adds an awful lot.

    an additional issue so that it will actually please avid Illustrator clients is the skill to align and distribute selected elements, not simply objects. choose any diverse anchor points and watch in ask yourself because the hamsters inside Illustrator CS3 busily prepare the elements in case you click on align:

    click on for animation

    it's in reality a very good addition, however here is one other component that just makes sense to have, and users of the venerable FilterIt plug-in have had this potential for a while now. certain, it be now not exactly reasonable to assert utility isn't comprehensive if it doesn't have the equivalent third birthday party plug-in already installed, however aligning selected facets is any such simple component for Illustrator that or not it's sort of surprising or not it's taken 13 models for it to make it into the app. obviously FilterIt changed into just filling a basic need right here, and it had the added capabilities of being a device invoked by a keyboard shortcut; whatever you can't do with the align options in AI CS3. still, for ordinary Illustrator use, here is a big plus, so I can't whinge.

    Isolation mode

    a significant development in illustrator CS3 is its handling of objects and corporations/subgroups in the "I suppose he could be depressed"-named Isolation mode. if you had a gaggle of objects and inside those you had subgroups, older types of Illustrator weren't very good at dealing naturally with this, so CS3 has cleaned up the entire process and makes coping with subgroups painless.

    A masks community is double-clicked to edit the contents of the masks. click for animation.

    Checking the accurate of the window shows what degree you're in inside the companies:

    This isolation mode menu is doubtless normal to Flash clients, and if you happen to've created Flash-able symbols, this enhancing hierarchy works lots the equal as in Flash. once you've edited one of those symbols in the Isolation mode, the others replace for that reason. Isolation mode average is ultimately an outstanding scheme for dealing with many subgroups, and or not it's going to help evidently manage larger illustrations.

    Eraser tool

    it will seem relatively basic to have an erase device in Illustrator, but vectors are greater advanced than simply masking some pixels, so it's pretty understandable that it be new. In older version of Illustrator, in case you wanted to cut a flowing brush stroke out of a letter for a logo, it became a multistep method: make a brush stroke over some outlined textual content with a customized brush, flatten the course so it turned into outlined, after which do a front-minus-back Boolean operation in the Pathfinder palette. relatively straightforward in itself, however if you happen to start to add layers and companies to this, it gets complex. In AI CS3, the eraser tool lets you do this in one brush stroke—while respecting objects on distinct layers and any present results:

    it be additionally pretty sweet for making rounded trims that have a more organic feel.

    if you grasp down option/alt, the eraser becomes a square marquee alternative that subtracts a rectangle from objects.

    but the eraser device doesn't work perpetually. in case you go over a stroked object, you will get mixed consequences:

    also, it does not do picture masks, so when you have a complex illustration, these two barriers will force slightly of a workaround by way of outlining all strokes. it might have been nice if the eraser tool had this as an computerized option.

    Crop enviornment tool

    whereas Illustrator already comprises the ability to make crop marks for printing output, CS3 now adds a crop device feature that is used greater like a slice however with subtly diverse utilization, and unlike slices, dissimilar crop areas (created by alternative dragging with the device active) do not bite into different crop areas. they are like visible workspaces, and for things like packaging, where it can be a little tough to check what one fold might also look like, it makes short work of previewing that part in context:

    My EP artwork cropped to the entrance face.

    The ancient manner became to make four white containers round your workspace so you could get a consider for what the cropped art would look like. It become relatively ghetto and a large waste of time. additionally, you can immediately make a crop enviornment round chosen objects. These crop areas can then be used as slices for save for net, doc bounds for PDF export, or as reference frames for alignment and distribution, so it basically has the abilities to shop work.

    however, in what's beginning to sound a little repetitive, the crop device is just shy of being polished. whereas it works nicely as a preview for cropped files, you can't create your personal presets, which appears to fly within the face of AI CS3's whole empowering of the person. I do these techno vinyl sleeves plenty, and seeing this lengthy listing of video options after I simply want a 12"x12" preview crop for the entrance and the back is slightly annoying:

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

    On desirable of that, crop areas cannot be promoted to slices, you cannot modify the colour or the opacity of the overlay, and PDFs exported with the cropped areas didn't use bleed or crop marks. creation of the packing containers is finicky, too: they can't be option-dragged like slices, and copying and pasting between sizes in files is inconsistent and irritating. For the crop device to be truly high-quality, it might have the customizable presets of document profiles and the means to have an InDesign-like 100 percent opaque trim preview. As is, or not it's an honest tool for paintings with distinct intended outputs (DVD interface, enterprise card, and so forth.), but it's needlessly confined.

    stronger colour features

    except you might be goth, then you're possible the use of colour in Illustrator, and alterations to color points are prone to affect non-vampire professionals. New in Illustrator CS3 is the ability so as to add a bunch of color swatches from chosen objects.

    The ensuing swatches are instantly grouped into the new colour companies within the swatches palette:

    choose all and colors from the selection are brought to a newly created colour community.

    it be a real time-saver and for maniacs that work with massive Laura Ashley-esque palettes, your lives are about to get more straightforward, if a bit too floral.

    are living colour

    with the aid of far the biggest new function in Illustrator CS3 are the new colour managing equipment in live colour. anyone who works in colour doubtless spends an excellent element of their time attempting to discover palettes that work collectively. here is less complicated stated than completed, and except you are Matisse or Warhol, this method can truly gradual you down. during the past, when I've discovered myself in a pinch for a good color scheme, I've used third-celebration utilities or color pickers, but the main problem with these is that for those who get their swatches into Illustrator, they commonly shift in view that they don't seem to be the use of the identical colour tech as Adobe, so that limits their usefulness as aids.

    thankfully Adobe has picked up the reins, and the color equipment in live color—which is accessible from the swatches or control palette—are really stellar. utilization of reside colour is top-quality understood with the aid of an illustration. let's say you are in palette hell, however you recognize you want as a minimum 5 colors to complement each different. You might use a colour you adore as a place to begin for a brand new scheme:

    Experimenting in a non-teen manner.

    shades can be assigned to specify which ones are locked so that any company colours or pantones can continue to be untouched whereas others stream. which you can retailer the resulting palette as a color group (indicated in the Swatches palette by using a folder at the left), and when you've assigned these swatches to facets, you could extra interactively work on the average color scheme as an entire within your artwork:

    editing the color community inside live colour.

    As you could see through all the sliders, knobs, and buttons, live colour is terribly effective, and nothing is overlooked. There truly is just one difficulty with live color: it be now not in InDesign as well. i take advantage of this regularly sufficient now for layouts that I've bought Illustrator open when doing pages in InDesign, simply to toss colour ideas round. it be become relatively beneficial.

    DeviceN colour assist

    On the technical aspect of colour, Illustrator CS3 now supports DeviceN color area for PostScript 3. which you can now place duotone or separated Photoshop photos in Illustrator and maintain the file's native colour area, so this may mean now not needing workarounds for setting apart advanced artwork in Illustrator.

    Flash integration

    lots of the source fabric for advanced Flash info is probably going created in Illustrator, so now that Adobe owns Flash, it's fair to assert we'll be seeing more integration between both classes. other than being in a position to export to a static .swf file, you've got the ability to open Illustrator CS3 information directly in Flash (but not the reverse) as well as the ability to create Flash symbols in Illustrator. The predominant advantage of the latter is that the time spent constructing a stage will also be shortened by using organizing and naming instances for animation.

    Hit F8 and you are induced by using the common Flash symbol creation dialog

    that you can set the registration of the object in order that reference elements for animation/rotation may be made more straightforward. Then that you could further assign an example name for ActionScript hobbies:

    And for textual content, you can set even if the text box is static, dynamic, or input text.

    advent of fancy loader pix just obtained easier

    once you have your symbols created, that you would be able to import the Illustrator itself at once into the Flash stage:

    With our symbols preserved, we're also given the option of setting our Flash doc 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 entire procedure is awfully smooth and, combined with the Isolation mode, is an elegantly implemented skill of coping with symbols in Illustrator. unluckily, it stops just wanting assisting hold art design centralized inside Illustrator for the reason that the import technique is a one-shot deal. Flash can't reference the imported Illustrator art like After results or InDesign references exterior documents, so this single import is a committed affair. additionally, in case you paste an emblem into Flash that has the identical name, it would not on the spot you to replace the present merchandise. this is more of a controversy for Flash, but given that the relationship between Flash and Illustrator is tight, it will have been nice to look a deeper integration as not obligatory.

    because it stands, this can save some time for sure, however I can not assist feeling just like the implementation lacks the vision for a really built-in scheme. however I cannot be too tough on the Illustrator group since the Macromedia acquisition is comparatively contemporary, and restructuring construction between the two apps is rarely a small affair. i am bound that given Adobe's huge measurement, just having an off-the-cuff conversation between departments requires lawyers to talk to the water cooler businesses about what Monday shaggy dog story to make use of.

    accelerated drawing efficiency

    For Intel Mac users, it won't come as much surprise to study that Illustrator CS3 is greatly quicker than operating CS2 in Rosetta, but the decent information is that home windows users and Mac users with older hardware will also advantage from the improve for the reason that the drawing engine in Illustrator has been fully overhauled for swifter rendering. The conventional consensus on the speed raise is that or not it's 15-30 p.c sooner, and testing on my first-gen PPC G5 means that indistinct and untestable figure is dead on—provide or take a percent factor. but significantly, folks, it does draw a little faster, and if you're on an Intel Mac, the improve is a no brainer. performance on my MacBook seasoned is extraordinarily good, and it is much sooner dealing with complicated art than on my dual G5.

    Conclusion

    I guess which you could inform through my tone that it be just a little tough to get excited concerning the Illustrator CS3 upgrade. What it does, it does smartly ample, but this is a relatively short evaluation, and yet I've lined relatively a great deal all it is new to Illustrator CS3. I take into account that things like the DeviceN and the new rendering engine are giant beneath-the hood improvements, and these low-stage engineering issues probably consumed a large chunk of building time for Illustrator CS3. however quicker rendering, advancements to the handle palette, library dealing with, document presets and Isolation mode (which is a second take at shoddy subgroup managing) suppose like a person attempting to promote their new, working bladder as whatever to get enthusiastic about. aside from are living colour and the new CS3 interface, the What's New component to Adobe Illustrator CS3 documentation reads a little like a padded résumé, and what's new is not flawlessly achieved (crop enviornment and eraser equipment). in keeping with what I even have been in a position to get in plug-ins for a long time and years of private Illustrator use, it be not challenging to get a hold of advancements that might positively have an effect on a large range of Illustrator clients:

  • means to select and stream assorted Bezier handles without delay (from the now-defunct Vector Studio) or at least cope with Bezier handles like anchor facets so that transforms may also be repeated for route tweaks. This would make the lives of fontographers and individuals who make logos lots less complicated.
  • An up-to-date 3D device. enforcing some thing like After effects' digicam-based three-D rotation would assist make 3D scenes that have been consistent as an alternative of having to haphazardly are trying and healthy views for particular person objects within the scene. also, adding CADTools or SketchUp-like interactive extrusion points could be a stronger method for creating 3D objects within a scene.
  • Maya-trend paint choice and paint attribute weights. suppose of how top notch it could be to be in a position to brush out the amount of envelope impact on a group of anchor points. since most outcomes are live, this might be the nextlogical step.
  • I don't believe it be too a lot to ask that the bar be set a bit of better for what Illustrator should still be able to do. With Adobe's buyout of Macromedia, Illustrator has lost its leading competitor (Freehand), and i personally worry that this will create a blinder impact for the Illustrator crew. The remaining issue we want is a application journey on the monopoly train to boredom town, à la a here-unnamed layout software made by way of an organization whose identify begins with "Q" it truly is unexpectedly dropping market share. but I digress.

    In conclusion, the Illustrator CS3 improve is first rate but no longer splendid. if you spend a major amount of time in Illustrator, then the reside colour characteristic by myself is a really compelling rationale to improve. when you are on an older PPC laptop, then the drawing efficiency advancements are also a boon, and Intel Mac users don't should debate the need to improve. but if you buy, simply be organized for much less CS3 and extra of a CS2.5.

    execs
  • are living color is brilliant and does excess of a traditional colour wheel
  • faster drawing engine
  • Very fast on Intel Macs
  • Align and distribute works on elements now
  • DeviceN color space assist
  • more advantageous integration with Flash
  • CS3 interface is clean and smartly-organized
  • Isolation mode makes subgroup and object modifying an awful lot clearer
  • Cons
  • Meager improve; lots of what's new feels like modernization, now not innovation
  • grey interface alternative lacks polish
  • Crop enviornment device lacks customizable presets and alternate options

  • Adobe creative Suite three (Photoshop CS3, InDesign CS3, Adobe Illustrator CS3, and so on.) ships | killexams.com Real Questions and Pass4sure dumps

    Adobe is instantly delivery creative Suite three.0, which includes (counting on the edition bought) the applications Photoshop CS3, Photoshop CS3 extended, InDesign CS3, Illustrator CS3, Flash CS3 skilled, Dreamweaver CS3, Fireworks CS3, and make contributions CS3.

    Adobe artistic Suite 3 Design premium, Design ordinary, internet premium, and net ordinary are automatically obtainable for purchase and subsequent download to purchasers within the united states and Canada through the Adobe shop. actual packages can be purchasable at dealers presently.

    Estimated street fee for the Adobe inventive Suite three Design top class version is US$1799, US$1199 for artistic Suite 3 Design normal version, US$1599 for artistic Suite three web premium and US$999 for Adobe artistic Suite three internet commonplace.

    if you've acquired one of the artistic Suite 3 programs, please let us know your preliminary concepts.

    components
  • Adobe store
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  • total working towards announces Photoshop CS3 DVD | killexams.com Real Questions and Pass4sure dumps

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    Steps to Becoming an Adobe Certified Expert | killexams.com real questions and Pass4sure dumps

    Let us leave to the side for the moment some of the needless complexity and conflicting information in Adobe certifications (covered in my last piece in this series). Today we shall focus on how to become an Adobe Certified Expert, or ACE.

    Our Adobe.com page reference for today's post is this one:

    Adobe.com: Become an Adobe Certified Expert in four easy steps

    According to Adobe, those four steps are as follows:

  • Choose a certification
  • Register for the exam (Pearson VUE or Prometric)
  • Prepare for the exam
  • Get involved with the Adobe community and keep abreast concerning recertification requirements
  • Adobe divides their ACE program into three categories:

    * Single product certification

    * Specialist certification

    * Master certification

    A single-product ACE is an Adobe professional who wants to validate his or her expertise with a single Adobe product, such as the following:

  • Acrobat
  • After Effects
  • GoLive
  • Illustrator
  • InDesign
  • Photoshop
  • Premiere
  • On the other hand, a specialist ACE is geared toward using multiple Adobe applications by virtue of his or her job role (i.e., Print specialist, Web specialist, or Video specialist).

    Please visit the The Become an Adobe Certified Expert page to view Adobe's requirement's matrix for the three ACE specialist tracks.

    For example, if I wanted to earn my ACE as a Web specialist, I would have to pass the following three exams:

  • Dreamweaver or GoLive
  • Photoshop
  • Acrobat Print Production or Illustrator
  • Finally, there is the ACE Master certification. Here you must pass all exams in an entire Adobe product suite.

    The key issue here, friends, is versioning. You may be an expert in, say, Adobe Dreamweaver CS3, but how would you feel about taking a certification exam on MACROMEDIA Dreamweaver?

    As I mentioned in my last post, in my humble or no-so-humble opinion, Adobe is doing a dreadful job in maintaining their certification program--just dreadful. In a future post this week I will help you figure out how to ensure that you are taking the "latest and greatest" version of your desired Adobe certification exams.


    After Effects CS3 Professional | killexams.com real questions and Pass4sure dumps

    Adobe has raised the bar for motion-graphics and animation production software with its release of After Effects CS3 Professional. Incorporating an interface that will be familiar to users of After Effects 7 Professional (   ), Adobe has added impressive new animation features and improved functionality to this version. It runs natively on Intel Macs and works seamlessly with other members of Adobe’s new Production Premium video suite.

    Adobe has obviously been listening to its users. This version adds many items that After Effects 7 lacked, such as the new timeline tools and true 3-D animation of individual text characters. More importantly though—at least for production professionals—is its tight integration with Adobe Photoshop CS3 Extended (   ) and Flash CS3 Professional (   ). This version streamlines the workflow of many projects by incorporating a better import/export path, and retains more layer and effects information between After Effects and each of the other two programs.

    After Effects’ new Brainstorm feature, which allows users to select key elements of a layer and experiment with a variety of alternative modifications and effects to it, greatly enhances the creative process. In addition, new animation features such as the vector-based Shape Layers and the Puppet tool will likely head off creative blocks for a long time.

    Quite shapely

    The new Shape Layers feature comes to After Effects CS3 in a big way—and not just in the form of basic rectangles and ellipses—but actual scalable vector shape polygons and multipoint stars that you can modify and keyframe to create animations like never before. Not only can you edit and animate the shapes themselves, but also the components of the shapes, including strokes, fills, roundness, dashes, gradients, and more. Shape layers can contain a compound shape—a group with any number of shapes—so that animations or settings for a particular layer affect the entire group of shapes on that layer. You can also create your own shapes using the Pen tool, which is similar to Illustrator’s tool. And now, you can convert text to a Shape Layer, which means you can apply vector warping to its shape in addition to rasterized effects.

    And speaking of text, you can finally move individual text characters in 3-D (also called Z-space) through the animators. When Adobe released its powerful text animators in After Effects 7, users were ecstatic at the possibility of creating mind-blowing titles and animated text sequences—until they discovered that they could manipulate only the x and y coordinates within a text layer. That’s all changed: designers now have endless new text animation possibilities.

    Puppet show

    The new Puppet tool is intuitive and powerful, giving you the ability to take a rasterized image layer and animate it by stretching and bending character parts and limbs. This isn’t just another Liquify tool on steroids, but a truly remarkable independent warp mesh that can overlap other areas of the layer, such as a hand moving in front of the body. By using the Pin tool to mark out joints and overlays, and the Starch tool to stiffen areas of the mesh, you can animate and warp a character with either exaggerated or natural movements. Previously, the only way to do this was to create several layers and try to distort them individually. The organic motion that the Puppet tool creates with a graphic layer is truly phenomenal.

    Creative smorgasbord

    The new Brainstorm feature in After Effects CS3 helps you avoid creative ruts. If you select various layer and effects properties and then click on the Brainstorm button, the program gives you a number of possible size, shape, color, or motion options that you can refine and change as you select new criteria. It provides more than just a random selection of colorization or layout options—you get a previsualization grid of animated variations utilizing all the elements of the selected layers. From that grid, you choose the option that you want to apply.

    Photoshop Extended integration

    Never before have Adobe After Effects and Photoshop been as closely integrated as they are in this new video production suite. With its Photoshop-like Layer Styles, editable PSD Video Layers, and Vanishing Point 3-D scenes, working between the two applications is swift and efficient. Many of the features in Photoshop’s effects can be animated on the After Effects timeline—a huge time-saver. Previously, you had to animate layer style effects in ImageReady and export a QuickTime movie into After Effects. Now you can apply and animate individual effects such as light angle, bevel, and strokes on layers and text with ease, while retaining all of the layer’s transparency and 3-D properties.

    One element of the feature remains slightly disappointing, however. Transferring layer style effects from your PSD layers into After Effects’ layer styles is not as intuitive as I’d like. Photoshop layer style effects can be imported and modified or animated, but they don’t appear as editable layer styles as you see them in Photoshop; nor do they show up automatically as layer styles applied directly on a layer inside After Effects. Upon importing a PSD file, you can either merge the effects onto the layer or ignore them. If you merge them upon importing, they will appear only as part of the layer image until you select the Convert to Editable Styles command from the Layers menu. After that, the effects can be modified or animated in the Timeline Editor. This isn’t the seamless automated operation between Photoshop and After Effects Layer Styles that I would want, but it is much improved over previous versions.

    Rotoscoping is also much easier with the new integration of PSD Video Layers. You can seamlessly import Photoshop Extended Video Layers, allowing you to go back and forth between the two applications to fine-tune your rotoscope editing or layer animations. The cloning and paint tools are much improved as well.

    Photoshop Extended’s Vanishing Point feature now exports 3-D scene data, which you can now import into After Effects to create realistic 3-D scenes from 2-D still images. For instance, if you take an image of the corner of a building and apply two Vanishing Point grids on either side, and then export the data and import it into After Effects, you get a scene with a camera built in and ready to pan around the corner of the 3-D building. This opens the door to even more creative fun.

    Adobe Bridge CS3 can now play image-sequence stacks as animations, allowing Photoshop image sequences to play in large preview windows before being imported into After Effects. If you have a series of sequentially numbered frame files in a folder, selecting the folder will preview the contents as a movie.

    Flash CS3 integration

    The new version of After Effects is highly interoperable with Flash CS3. Import Flash (SWF format) files as scalable vectors with alpha channel transparency, and use them to easily create 3-D layer animations. The rasterized vector shapes—along with the alpha channels from Flash—are preserved in the same manner as Photoshop or Illustrator layers. This is great for motion graphics producers who do most of their animation work in Flash. After Effects also lets you render videos out to Flash movies, along with exported cue points. You can use any of the keyframes in the After Effects timeline to generate cue points in the Flash movie.

    PDF Clip Notes

    The addition of Clip Notes in this version of After Effects makes client approvals and project team reviews much easier. You can now render your movie into an Adobe PDF format file, and select whether or not to embed the movie data (which creates a larger file) or stream it from a server. This allows you to send a client or colleague a PDF for review via Acrobat Reader. The video opens up as a player in Adobe Reader, and reviewers can comment in timecode-accurate positions along the movie’s timeline. They can stop the movie at any point to type a comment in the provided comment box and then continue on. When they send the reviewed notes file back to you for your editing notations, their comments will appear as tagged markers in your Timeline editor, allowing you to read the tag or text on the marker directly in the timeline.

    Mobile video to go

    Adobe Device Central CS3 allows you to create and save movies for cell phones, PDAs, and other portable devices, such as Apple’s Video iPod. This new feature lets you preview Web and Flash Lite movie content on a simulated image of the device and make changes to a movie’s scale, aspect ratio, or rotation to best fit a particular device’s screen. And the program supports the rendering of 3GPP (mobile device) codecs along with the existing MP4 and H.264 codecs.

    Improved performance

    Adobe couldn’t release a new version of After Effects without addressing the need for greater speed. I experienced noticeably faster preview and render times compared with the previous version, when testing on my Power Mac G5. There is no longer a delay in rendering audio in previews, and performance with HDV and MPEG clips is much improved.

    While previews can now take advantage of multiprocessor and multicore machines that render more than one frame at a time—a step in the right direction—you must still render the preview out before viewing your changes. Having the real-time previews available would be a great help in making live tweaks and animation moves more intuitively.

    This new version of After Effects provides more accurate color management. Taking its cue from Photoshop, After Effects uses ICC profiles that allow you to embed color profiles into your projects. So not only can you preview your project on a calibrated display and with a workspace setting that emulates a variety of broadcast monitors and film stocks, but you can also make sure that when you open your project on another computer or hand it off to a colleague, the color profiles will not change. Color management gets its performance gains through the graphics processor hardware; so 32-bit high-dynamic-range projects will composite accurately if you have the appropriate graphics card.

    Macworld’s buying advice

    After Effects CS3 Professional is not just another update, but a major advancement, and unquestionably worth the price of the upgrade. Motion-graphic artists will quickly find the new features and tools indispensable in their daily creative production, and the workflow between After Effects and the rest of the suite has been refined and more thoroughly integrated. This program’s many innovative and creative new tools will keep you coming back for more.

    [ EDITOR’S NOTE: Changes were made to this sentence to clarify that layer style effects in Photoshop layers can be imported and modified or animated in the After Effects Timeline Editor. ]

    [ Jeff Foster is an Adobe Certified Expert, and has appeared regularly as a member of the Instructor Dream Team at Photoshop World and as a featured speaker at Macworld Expo and the NAB (National Association of Broadcasters) Convention. He is the author of After Effects & Photoshop CS2: Animation and Production Effects for DV and Film, second edition (Sybex, 2006). ]

    After Effects CS3 Professional offers a new vector-based Shape Layers feature that lets you animate shapes as well as their components, including strokes, fills, dashes, and gradients.The new Puppet tool is a powerful warp mesh animator that brings rasterized still figures to life.Experiment with creative new variations on layers and effects using the new Brainstorm feature.Render your movies out to mobile devices using Adobe Device Central.

    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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