Portable Adobe Illustrator CS5

Defines the future of vector graphics.

Create distinctive vector artwork for any project. Used by design professionals worldwide, Adobe Illustrator CS5 software provides precision and power with sophisticated drawing tools, expressive natural brushes, a host of time savers, and integration with Adobe CS Live online services.

Adobe Illustrator occupies a slightly odd position in its market. On the Mac, it’s the de facto choice for vector illustration, used for everything from logos to fine art. PC users have other options, though, including CorelDRAW and Xara Xtreme.

To stay ahead at the high end, Illustrator added a number of unique features in CS3 and a new interface in CS4. In CS5 the changes are practical rather than structural: Adobe has made certain tasks easier and provided more tweaks to make things look precisely as you want.

The innovation that may see the most everyday use is variable width strokes. Drawing lines that vary along their length is one of the abilities that makes modern vector programs more than just technical drawing tools. Previously, there were various ways to do this, including drawing with the stylus of a pressure sensitive graphics tablet and applying various predefined contours, but getting the effect just right could take considerable trial and error. In CS5, you can add width handles at any point along a path to adjust its exact breadth at that point, and most brushes and effects applied to it will scale to match.

On the same theme of putting you in control of your drawing, complex strokes such as dashes, arrowheads and brushes have extra settings. For example, art brushes allow you to stretch and repeat elements along a path. The results can look awkward at sharp corners, but you can now make simple tweaks to fix this.

Since vector graphics are scalable without loss of quality, they’re a good choice for elements such as buttons and banners that will be repurposed for various jobs and screen sizes. But scaling isn’t always simple; for example, you might need to stretch a button to twice the width while leaving its text label intact. A system known as nine-slice scaling facilitates this in Illustrator CS5, letting you set up elements that scale exactly as you want.

Bristle Brushes create more realistic ‘painted’ strokes nothing like the wet media in Corel Painter, for example, but interesting for a vector-based environment and the Draw Inside option lets you ‘colour in’ shapes rather than applying a mask afterwards.

Traditional perspective drawing is sometimes neglected now that 3D software allows objects to be designed in 3D space, but that’s often an unsatisfactory approach for graphic artists.

Illustrator’s new perspective grids make drawing in 1, 2 or 3 point perspective almost foolproof, allowing items to be positioned and scaled within perspective planes. By adjusting the grid to match a placed photo, you can place new graphics into an existing scene, for example adding logos to buildings or packages. This is in some ways similar to the Vanishing Point feature in Photoshop, but potentially more powerful.

Although cheaper rivals may offer more instant effects, it’s increasingly hard to fault Illustrator’s breadth and depth of features, and integration with the other Creative Suite apps is a significant bonus for many. For example, Flash Catalyst, new in CS5, makes it simple to turn user interface elements designed in Illustrator into an interactive Flash app without programming skills.

Despite a fairly steep learning curve, Illustrator remains the most professional of drawing programs, offering stability, depth and print production credibility that others can’t match. For its target audience, this is an upgrade well worth paying worth.

Adobe Illustrator offers you all thne needed tools for creating and managing amazing vector art design!

Here are some key features of "Adobe Illustrator CS5"

Sophisticated vector drawing controls:
· Create distinctive designs with precise shape building tools, fluid and painterly brushes, and advanced path controls.

Gradients and transparency:
· Interact with gradients directly on your objects and control the transparency of individual colors in gradients and gradient meshes.

Beautiful Strokes:
· Fully control variable width strokes, arrowheads, dashes, and art brush scaling along a path.

In-panel appearance editing:
· Edit object characteristics directly in the Appearance panel, eliminating the need to open fill, stroke, or effects panels.

Integration with Adobe CS Review:
· Create and share online reviews for clients down the hall or around the world with Adobe CS Review, one of the new Adobe CS Live online services.

Industry standard graphic file format support:
· Work with almost any type of graphic file including PDF, EPS, FXG, Photoshop (PSD), TIFF, GIF, JPEG, SWF, SVG, DWG, DXF, and more.

Adobe PDF file creation tools:
· Create more secure, multipage, graphic rich PDF files with Illustrator layers retained. Share files confidently with service providers, including support for PDF/X standards.

Advanced typography:
· Design beautiful text for virtually any media with professional controls for paragraph and character styles, support for OpenType, transparent effects, and more.

Perspective Drawing:
· Use perspective grids to draw shapes and scenes in accurate 1-, 2-, or 3 point linear perspective and create the look of realistic depth and distance.

Multiple artboard enhancements:
· Work on up to 100 artboards of varying sizes in one file named, organized, and viewed the way you want.

Drawing enhancements:
· Draw behind, disregarding stacking order. Draw or place an image inside, instantly creating a clipping mask.

Integration with other Adobe design applications:
· Share files smoothly with other Adobe professional design applications and easily create artwork for multiple uses.

Crisp graphics for web and mobile devices:
· Create vector objects precisely on the file's pixel grid for delivering pixel aligned raster artwork.

Ask and Ye Shall Receive:
Ask an experienced user for something they’d like to see addressed in a new version of Illustrator and you’ll rarely hear a request for something big. In fact, you’ll find that most users wish for seemingly small things -- like adding an extra menu command here or there to help with the everyday tasks -- ones that are constantly repeated over and over again. In CS5, Adobe finally addresses numerous "small" requests -- with a few innovative twists along the way.

Create a new document in Illustrator CS5 and you’ll notice the ruler’s origin point is positioned at the top left of the document. And when you're using multiple artboards, each artboard now maintains its own ruler and origin point. Speaking of artboards, you can now assign names to them. A new Artboards panel lets you easily navigate between artboards and rearrange their order. A new Auto-Rotate option in the Print dialog box changes the paper settings to portrait and landscape automatically so that you can print all the artboards in your document at once, even if the artboards have mixed orientations.

Illustrator CS5 even breathes new life into the most basic of functions, like selecting, pasting, and path editing. You can now press and hold the Command (Mac) or Control (Windows) key while making selections to choose objects that appear beneath other objects in the stacking order. And CS5 sports two new paste commands: Paste in Place, which lets you copy an object from one artboard and paste into the exact location on another artboard; and Paste In All Artboards, which does the same -- but across all artboards at once. And after 14 versions of being forced to join anchor points two at a time, you can now use the Join command to fuse multiple paths and anchor points with one action.

Illustrator CS5 introduces the concept of drawing modes. In Draw Normal mode, each object that you draw is added above objects in the stacking order. Press Shift-D to toggle to Draw Behind mode and each object you draw will appear beneath other objects in the stacking order. Select any shape and press Shift-D again to enter Draw Inside mode, where anything you do happens inside of the selected object.Basically, Illustrator automatically creates the necessary masks for you. For example, when Draw Inside mode is active, you can use the regular Paste command to paste objects directly into other objects, without having to manually define a mask. This is similar to the Paste Inside feature that Freehand users have longed for.

With each release of Illustrator, the Symbols feature becomes more important and more powerful. Besides being able to work more efficiently, Symbols are also directly compatible with both Flash Professional and Flash Catalyst (Illustrator symbols become Flex optimized graphics when brought into Flash Catalyst). With CS5, symbols now have their own layer structure, like mini documents, and they support individual registration points and 9-slice scaling directly on the Illustrator artboard.

Several raster based effects, including the oft-used Gaussian Blur, now maintain their appearance even when you change the resolution value in the Effect > Document Raster Effects Settings dialog box. This means you can design at lower resolutions for better performance, then crank up the resolution before you go to print, without negative consequences. It also makes it easier to share content between print and Web documents.

In Illustrator CS4, Adobe added the ability to assign opacity values to individual color stops within a gradient. In CS5, Illustrator can now do the same for individual mesh points in a gradient mesh object.

While all of these items are just small enhancements, they have a huge impact on the bulk of the work you do in Illustrator every day. I covered them here first in my review because in my opinion, they are the most important.

Strokes Get a Complete Overhaul:
Looking at past releases of Illustrator, you can point to watershed features like gradients, the Appearance panel, and Pathfinder: things that have dramatically redefined the kinds of art you can create and changed the ways in which you get your work done. With Illustrator CS5, you can add yet another feature to this list: variable width strokes.

Illustrator users often take strokes, the attributes that control the appearance of paths, for granted. While there are settings like dashes, joins, and caps that can change the appearance of a stroke, the most common adjustment we make to strokes is the weight, or the thickness of a stroke. Strokes have always been limited to a single consistent weight that's distributed along the entire length of a path, but many of us have dreamed of creating strokes with tapered edges or non-uniform weights. In the past, we struggled with tedious workarounds, such as outlining strokes and adjusting anchor points manually, or applying brush strokes with pressure-sensitive pens and tablets.

In Illustrator CS5, you can use the new Width tool to adjust a stroke’s weight along any part of a path, with absolute precision. Normally, Illustrator paints the stroke along the centerline of the path, but using the Width tool, you can easily add or remove thickness from both sides of the path individually. As you click and drag with the Width tool, Illustrator defines width points that define the overall appearance of the stroke. You can double-click on these width points to enter precise measurements, and you can also drag width points along a path to make adjustments. And then there’s the best part: all of the width points applied to a path make up something called a width profile, which you can save and easily apply to other paths.

As an added benefit, you can also use the Width tool to add width profiles to Art and Pattern brushes. You can now also define "stretchable" areas in Art brushes, so that they scale intelligently.

In addition to the Width tool and width profiles, Adobe also enhanced the way that dashes are applied to strokes (corners now line up evenly). And instead of having to add and modify effects, you can now specify arrowheads as a stroke attribute directly from the Stroke panel (much like InDesign). You can instantly flip an arrowhead from one side of a path to another, and you can even define your own custom arrowheads.

Adobe likes to refer to all of these stroke settings and enhancements as "Beautiful Strokes" and it’s hard to disagree.

Bob Ross Lives on in Illustrator CS5:
Illustrator has had a Paintbrush tool since version 8, but it resembles a real paintbrush tool about as much as the Pen tool resembles a real pen. In past versions, Illustrator supported four kinds of brushes: calligraphic, art, scatter, and pattern. CS5 adds a fifth type called Bristle Brush, which simulates the bristles of an artist's brush.

The underlying engine for Bristle Brush is the same as the new Bristle Tips feature in Photoshop CS5, but with Illustrator, you paint with vectors instead of pixels. Still, it's possible to achieve painterly effects with Bristle Brush even if you've never painted before, though you may want to watch a few Bob Ross DVDs. You can define shaped brushes that mimic traditional brushes (fan, round, angle, etc.), and you have absolute control over a brush’s characteristics including bristle length, density, thickness, and stiffness. With so many variables, there’s no limit to what you can create with Bristle Brush. I’ve enjoyed creating artwork ranging from Japanese calligraphy to watercolor paintings.

The only downside is that to achieve painterly effects with vector paths, Bristle Brush uses transparency settings on multiple overlapping paths. This can sometimes create incredibly complex files that could cause problems during the printing process. If a file contains a significant amount of Bristle Brush strokes, Adobe suggests rasterizing the artwork before printing.

To get the most out of Illustrator’s new Bristle Brush, you’ll want to use a pressure-sensitive tablet. Bristle Brush also offers additional support for Wacom’s 6D Art Pen, which is available for both Intuos3 and Intuos4 tablets.

Draw Artwork in Perspective:
Artists who need to create artwork in perspective often spend time manually drawing complex grids with horizon lines and vanishing points to ensure correct angles and positioning. Then they spend even more time carefully drawing artwork to line up correctly with the grids. Once such artwork is created, it’s difficult to adjust or edit the artwork without adjusting the entire perspective, as well.

In Illustrator CS5, Adobe adds a complete Perspective Grid feature that lets you quickly define a 1-, 2-, or 3 point perspective grid with adjustable horizon lines, perspective planes, and vanishing points. Once you’ve defined a perspective grid, Illustrator’s basic drawing tools draw shapes that are constrained to the perspective grid. A new Perspective Selection tool allows you to move and scale objects while keeping the proper perspective, and you can also use the tool to take existing flat art and snap it into proper perspective. An innovative on-screen widget also appears when you’re editing artwork in perspective to help you choose which perspective plane you want artwork to snap to. You can even move artwork from one perspective plane to another, making it snap from one perspective angle to another.

Defining a perspective grid in Illustrator is easy enough, but as you start to draw and incorporate artwork, using the perspective features become increasingly difficult. A single document can contain a mixture of artwork -- some attached to a perspective plane and some not -- but there is no way to tell which is which, making it confusing to know when to use the Selection tool or the Perspective Selection tool. Some techniques, such as moving art between perspective planes, are only possible using keyboard shortcuts while simultaneously using the mouse.

For complex illustrations that need to be drawn in perspective, the Perspective Grid feature might be useful, but if you have to quickly add perspective to a few elements in your illustration, you’ll probably find it faster and easier to use features that Illustrator has had for quite some time, such as Envelope Distort, or the 3D or Distort effects.

Build Artwork Faster than Ever:
Most experienced Illustrator users know that it can be a lot easier to create artwork by using Pathfinder functions to combine, subtract, or divide multiple objects. If you think about building artwork instead of drawing artwork, you can generate complex designs more efficiently.

However, even experienced Illustrator users often become frustrated with the Pathfinder panel. It takes up extra space on the screen, and it can be difficult to remember which button applies which effect. In CS2, Adobe added the Live Paint feature to help designers build artwork more efficiently, but Live Paint required the use of special groups, which confused many users.

In Illustrator CS5, Adobe adds a new Shape Builder tool that lets you apply the most-used Pathfinder commands (Add/Unite and Subtract/Minus Front) visually. Simply select several shapes and drag across them with the tool to unite them into a single shape, or perform the same action while holding the Option (Mac) or Alt (Windows) key to subtract or remove artwork. There are even options to make the Shape Builder tool behave similarly to the Live Paintbucket tool, allowing you to apply color to objects as you perform Add and Subtract functions.

I’ll admit that when I first saw this tool, I didn’t think I’d find much use in it, as I’ve already come to rely heavily on Live Paint and even basic Pathfinder functions. However, I’m using the Shape Builder tool again and again. It’s really so much faster and more intuitive. I’ve dubbed the Shape Builder tool as the sleeper feature in Illustrator CS5.

Pixel Perfect Web Design:
Illustrator has a bad rap when it comes to Web design. All too often, GIF, JPEG, and PNG images created in Illustrator seem soft or blurry compared to similar artwork created in Photoshop or Fireworks. This difference is due primarily to how Illustrator aligns strokes to paths by default, and how antialiasing affects strokes that don’t align perfectly to the pixel grid.

In Illustrator CS5, a new Align To Pixel Grid function forces strokes and artwork in general to snap perfectly to the pixel grid, ensuring a crisp and sharp appearance for all Web graphics. You can apply this setting (found in the Transform panel) to an entire document so that all artwork you create always looks perfect, and the Web profile you can use to create new documents already has this setting enabled by default.

Figure 8: With the Align to Pixel Grid setting in the Transform panel, a click of your mouse turns soft and blurred artwork (left) into designs that appear sharp and clear on digital displays (right).

Ensuring that text is readable on a Web page is equally important, and Illustrator now contains antialiasing settings in the Character panel (similar to Photoshop) so that your text appears at its best.

If you use slices to generate Web graphics from Illustrator, you’ll be happy to know that there’s a new command that lets you export selected slices directly from your document, without having to open the Save for Web dialog box.

Illustrator is also the perfect companion to Adobe’s new Flash authoring tool, Flash Catalyst CS5. Not only can you bring native Illustrator content directly into Flash Catalyst, you can also use Illustrator to edit components from within Flash Catalyst.

CS Live Services:
Over the past few years, Adobe has been experimenting with online services that include Kuler, Acrobat.com and Photoshop.com. With CS5, Adobe is officially releasing a package dubbed CS Live Online Services that includes the following:

* Acrobat.com, offering a variety of sharing and document services
* Adobe BrowserLab, which allows you to preview how your websites look on a variety of Web browsers
* Adobe CS Review, which gives you the ability to easily conduct reviews with your coworkers or clients
* Adobe Story, a script-writing tool for video professionals

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Adobe Creative Suite 4 Master Collection

Product Features:
Design across media using a comprehensive, integrated creative environment; Work deeply in one discipline, such as print, web, video, or audio, and then move your skills and content to another medium efficiently.
Create eye catching vector graphics in Adobe Illustrator CS4, produce powerful images in Adobe Photoshop CS4 Extended, and lay out visually rich documents for print and digital delivery in InDesign; showcase design work in dynamic PDF Portfolios.
Prototype and create leading edge digital experiences, including interactive websites, applications, user interfaces, presentations, and mobile device content, using Adobe Fireworks CS4, Dreamweaver CS4, Flash, and many other tools in Master Collection.
Work with a highly efficient pre- and post-production toolset to do video and audio editing, still and motion graphics, visual effects, and interactive media design, and then deliver for film, broadcast, and DVD as well as Blu-ray Disc and mobile authoring.
Use the indispensable tools in Photoshop Extended more efficiently: Pan and zoom on images smoothly, rotate canvas to any angle, and resize images without distortion using new Content-Aware Scaling; paint, composite, and animate 3D models.

Ultimate creative toolset:
Design across media using a comprehensive, integrated creative environment. Work deeply in one discipline, such as print, web, video, or audio, and then move your skills and content to another medium efficiently. For example, export rich interactive documents from Adobe InDesign as SWF or PDF files or as XFL files that you can open and edit in Adobe Flash. Or, import live Adobe After Effects compositions into Adobe Flash to add interactivity.

Industry leading graphic design tools:
Create eye catching vector graphics in Adobe Illustrator CS4, produce powerful digital images in Adobe Photoshop CS4 Extended, and lay out visually rich long and short documents for print and digital delivery in InDesign. Showcase design work in dynamic, customizable PDF Portfolios, and prepare PDF files for high end printed output.

Efficient creation of websites, applications, and digital experiences:
Prototype and create leading edge digital experiences, including interactive websites, applications, user interfaces, presentations, and mobile device content, using Adobe Fireworks CS4, Dreamweaver CS4, Flash, and many other tools in Master Collection. Exchange creative content between designers and developers without rework.

A complete pre and post production toolset:
Work with a highly efficient pre and post production toolset to do video and audio editing, still and motion graphics, visual effects, and interactive media design, and then deliver for film, broadcast, and DVD as well as Blu-ray Disc and mobile authoring.

New dimensions in image editing:
Use the indispensable tools in Photoshop Extended more efficiently: Pan and zoom on images more smoothly and rapidly, rotate your canvas to any angle, and resize images without distortion or pixelation using revolutionary new Content Aware Scaling. Paint, composite, and animate 3D models using familiar tools.

Rich Animation:
Produce animations for virtually any screen with the utmost control in After Effects, or create rich interactive animations with new easy to use, object based controls in Flash.

Cutting edge web technologies and industry standards:
Prototype in Fireworks and build standards based websites and applications in Dreamweaver, whether you're working with client side HTML/XHTML, CSS, and XML; server side application languages like Adobe ColdFusion, ASP, and PHP; or advanced JavaScript and Ajax. Get consistent cross browser compatible results with virtually any development platform.

Project intelligence with XMP metadata:
Track, manage, automate, and extract more value from your design and video assets by embedding XMP metadata as you create your projects. For example, use new Speech Search technology in Adobe Premiere Pro CS4 and Soundbooth CS4 to turn spoken dialogue into metadata, making it easy to find particular clips as you edit and your video assets searchable when posted online.

Collaboration with clients and colleagues:
Access the Adobe ConnectNow service to review creative ideas online in real time with colleagues or clients. Find answers to technical questions with Adobe Community Help. Share color harmonies online with Adobe Kuler. Access In InDesign, sort by any column and easily scan the thumbnails in the enhanced Links panel to view detailed, customizable information about linked content. Click to enlarge.

In InDesign, quickly create a compelling interactive document by using the new Page Transitions panel to add animated transitions such as Page Turn. Then export the document as a SWF file that anyone with Adobe Flash Player or a web browser that supports Flash can conveniently view. Click to enlarge.

Creating a basic Flash animation is now a simple two step process: Select an object and choose Create Motion Tween, and then drag the object. The resulting motion path can be easily edited using Bezier curves. Click to enlarge.

Paint directly on 3D objects in Photoshop Extended and view the results immediately. Click to enlarge.

Quickly and reliably test mobile content in a variety of simulated lighting environments by controlling test settings for backlight, reflections, contrast, and more. Click to enlarge.

Search for spoken dialog, make video clips searchable, and access rights management information and other types of project intelligence thanks to new support for XMP metadata across Production Premium. Click to enlarge. improved Resource Central to find new assets, and quickly find news and inspiration in Bridge Home.

Mobile designs for millions:
Deliver compelling content to mobile subscribers worldwide. Use Adobe Device Central CS4 to create, preview, and test mobile content easily on an extensive selection of devices under simulated real life conditions directly from your desktop.


Combines:
· Adobe InDesign CS4
· Adobe Photoshop CS4 Extended
· Adobe Illustrator CS4
· Adobe Acrobat 9 Pro
· Adobe Flash CS4 Professional
· Adobe Dreamweaver CS4
· Adobe Fireworks CS4
· Adobe Contribute CS4
· Adobe After Effects CS4
· Adobe Premiere Pro CS4
· Adobe Soundbooth CS4
· Adobe OnLocation CS4
· Adobe Encore CS4

Adobe InDesign CS4 Design professional layouts for print and digital publishing.

Publish persuasive content:
Create high impact, personalized content and long documents tailored for unique audiences in less time and with fewer steps.

Experience fluid workflows:
Design with ease using customer inspired enhancements to your everyday toolset and a more flexible layout environment.

Create rich interactive documents:
Create dynamic documents for playback in the Adobe Flash Player runtime as well as engaging PDF content that both include professional typography and top quality page design.

Adobe Photoshop CS4 Extended Discover new dimensions in digital imaging.

Easily access full editing power:
Take greater advantage of all that Adobe Photoshop Extended software offers with a more intuitive user interface and nondestructive editing freedom so you can achieve the highest quality results.

Work more efficiently:
Be more productive by taking advantage of smooth integration with other Adobe software and enhancements that leverage the power of today's faster graphics processors.

Edit 3D and motion based content:
Enjoy breakthrough enhancements that now let you paint directly on 3D objects and unleash the editing power of Photoshop software on 3D content. Plus, edit motion graphics for video with enhanced control for speed and precision.

Perform advanced image analysis:
Extract quantitative information from images, count objects or image features, track and log your work, and volume-render DICOM files.
Adobe Illustrator CS4 Explore new paths with the essential vector tool

Explore new features:
Powerful additions such as the Blob Brush tool and transparency in gradients inspire new creativity. The highly anticipated multiple artboards feature prompts new ways of working.

Discover hidden gems:
Existing features have been polished, and hidden functions have been uncovered to reveal usefulness and depth, enabling you to learn more quickly and take better advantage of the power of Illustrator.

Work efficiently:
Illustrator CS4 offers improved interaction with options and tools, plus you can do more directly on the artboard. Innovations with Smart Guides and Isolation Mode plus new panel behaviors enable a smoother, more efficient workflow.

Deliver almost anywhere:
Print delivery is more reliable with Separations Preview. And with new user interface similarity and shared 

Using Live Preflight in InDesign, you can open the Preflight panel to be alerted to errors as they occur rather than when the presses are just about to roll. Click to enlarge.

Live View lets you see exactly how your pages will appear in a web browser directly from within Dreamweaver, so you can quickly tweak the code right then and there. Click to enlarge.

Live View lets you see exactly how your pages will appear in a web browser directly from within Dreamweaver, so you can quickly tweak the code right then and there. Click to enlarge.

To allow you to work smoothly and swiftly within components and to move effortlessly among them, Design Premium offers several elegant, cross component interface enhancements, including N-up view, an application bar, an application frame, and tabbed documents, and task based workspaces. Click to enlarge.

Multitrack support lets you quickly assemble all your audio elements, and save them as an ASND file that can be shared with Adobe Flash CS4 Professional, Adobe Premiere Pro CS4, and Adobe After Effects CS4 software. Click to enlarge.

Adobe Media Encoder lets you use any combination of sequences and clips as source files and encode to an extensive variety of formats. Click to enlarge.

Navigating nested compositions in Adobe After Effects CS4 is made easier by the Composition navigator along the top of each Composition panel (right). A Mini Flowchart (below) reveals the nesting organization of related compositions Click to enlarge.

The new Cartoon effect in Adobe After Effects CS4 allows you to convert live action footage (left) into stylized imagery (right). Click to enlarge. Formats among Adobe Creative Suite tools, work across applications is virtually seamless.

Deliver professional documents:
Easily organize content from a variety of sources including documents, e-mail, images, spreadsheets, and web pages in a single searchable PDF Portfolio, compressed for easy distribution. Use professionally designed templates that can be branded with your company logo and colors. Quickly integrate content, define navigation, and add polish to communicate clearly and effectively. Share information with anyone using free Adobe Reader software.

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Accelerate the exchange of ideas with colleagues, extended teams, and customers. Through easy to manage electronic document reviews, participants can see and build on other reviewers' comments as they are being made, so you can quickly gain the input and consensus you need to efficiently develop and complete work. Enable virtually anyone using free Adobe Reader software to participate in reviews, and use the Form Tracker to monitor progress and participation.

Help protect sensitive information:
Control access to and use of PDF documents, assign digital rights, and maintain document integrity. Set document permissions to define whether a file can be printed or changed. Apply passwords to help restrict document access. Use redaction tools to permanently remove sensitive information. Digitally sign and certify documents to validate they came from a trusted source. Create and reuse document security policies to precisely manage who can print, save, copy, or modify a document.

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Design with ease and efficiency:
Quickly create and modify animations while retaining a great degree of control. Powerful new object based animation, Bezier controls, and motion presets make working in Flash easier and more intuitive.

Explore new creative possibilities:
Express your creative vision in innovative ways with exciting new design tools. Animate 2D objects through 3D space with 3D translation and rotation. Use the Bones tool to easily create chain like effects or distort shapes. Add the expressive power of patterns to your designs with the Deco tool.

Collaborate across workflows
Collaborate smoothly across designer and developer workflows. Easily import content into Flash from Adobe InDesign and After Effects software using the XFL format. Enjoy common user interface elements and tools across the Adobe Creative Suite 4 family.

Deliver for a wide reach:
Deliver interactive experiences that reach audiences across platforms and devices. The latest technologies, such as XMP for mobile and delivery to the Adobe AIR runtime, are right at your fingertips. Adobe Dreamweaver CS4 Design, develop, and maintain standards based websites and applications.

Create next generation web experiences:
Work in a real world view of your rich CSS, JavaScript, SWF, and dynamic content directly in Dreamweaver. Quickly integrate third party web widgets from the most popular JavaScript frameworks into your pages.

Learn best practices:
Visually design with CSS best practices aided by jargon free explanations of practical concepts. Create Ajax driven interactivity while supporting best practices.

Take control of your content:
Design your pages in Dreamweaver so your clients can make updates to their web pages directly from the browser using the Adobe InContext Editing online service. Add dynamic data to your site without a database or complex coding.

Adobe Fireworks CS4 Rapidly prototype and design for the web.

Take prototyping to the next level:
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Collaborate more smoothly:
Work faster and smarter with the accelerated performance of Fireworks CS4. Leverage the uniform user interface and core functionality, such as consistent text handling, across Fireworks and other Adobe Creative Suite 4 components, including Adobe Photoshop CS4 and Adobe Illustrator CS4.

Design once, deploy to many platforms:
Output your Fireworks designs to HTML, Adobe AIR, Flash, or Flex software. Craft custom skins for Flex components with the superior design tools of Fireworks. Design within Fireworks and, when you're ready, export web standards-compliant CSS to Adobe Dreamweaver CS4 software. Create HTML-based Adobe AIR prototypes directly from within Fireworks to provide layout design and to display user interaction before developing your

Save time on every project by dynamically linking content between select components of Adobe Creative Suite 4 Production Premium. With Adobe Dynamic Link, you can see and hear updates instantly without rendering as you refine your project's assets. Click to enlarge.

Use the powerful new Speech Search feature in both Adobe Premiere Pro CS4 and Soundbooth CS4 to automatically generate metadata that makes video searchable by linking the spoken word to timecode specific text. Click to enlarge. The redesigned user interface puts all of the controls for Adobe OnLocation on a single screen, while the Shot List (inset) lets you input vital information, comments, and more. Click to enlarge. Robust timecode display options throughout Adobe Premiere Pro give you the ability to work with SMPTE or frame-count timecode. Click to enlarge. application.

Adobe Contribute CS4 Simplify web content management.

Delegate work while retaining control:
Delegate content publishing to content owners without compromising the integrity of your websites. Define and enforce custom publishing workflows to meet your organization's review and approval requirements for published content.

Engage users:
Empower end users to quickly and easily publish content to static and dynamic websites through true WYSIWYG authoring. Give users the choice of editing websites directly from their favorite browsers or composing and publishing web content from within Microsoft Office applications. Enable easy collaboration between users in the content publishing process.

Work with a compatible, affordable tool:
Publish to the web in almost any computing environment thanks to compatibility with existing web and IT infrastructures and cross platform interoperability. Contribute CS4 is affordable and works on Intel and PowerPC based Macs and on Microsoft Windows XP and Windows Vista systems.

Adobe After Effects CS4 Create motion graphics and visual effects with the industry standard.

Innovate visually:
Enjoy creative control over virtually every element in a highly responsive 2D and 3D compositing and animation environment. With After Effects CS4, you can create virtually whatever you envision.

Work with efficient tools:
Easily handle a wide range of post production tasks from keying and motion tracking to color correction, rotoscoping, and more using flexible tools in a user interface optimized to help save you time.

Deliver to virtually any screen:
Easily create output for delivery to a wide range of media formats and platforms from traditional film and video to the web and mobile devices from a single project.
Adobe Premiere Pro CS4 Capture, edit, and deliver video online, on air, on disc, or on device.

Discover new post production workflows:
Work with the formats you want, from DV and HD to 4K and beyond. Support for industry standards enables you to interchange more easily with other industry standard tools. Powerful new metadata management features help you deliver video content to virtually any screen.

Work with efficient post production tools:
Edit faster with a broad selection of professional editing tools and tighter than ever integration with other Adobe software. Maintain pristine quality across the production process with an efficient tapeless workflow, find specific areas of your content faster with the innovative Speech Search feature, and stay focused on your work with background batch encoding.

Achieve creative excellence:
Maximize your creative options with powerful enhancements that help you bring new dimensions to your work. Achieve your vision with professional color correction, quick and precise multicam editing, and much more all from within a familiar, customizable interface. Tap into a wealth of tutorials, stock footage, visual effects, and more to elevate your production quality, and connect to the creative community to share ideas. From acquisition to delivery, Adobe Premiere Pro CS4 offers tools that help you deliver excellent results.

Adobe Soundbooth CS4 Create and edit audio with ease.

Rapidly enhance and edit audio:
Take command of the audio in creative projects with task based tools that help you create, clean up, and polish sound. Multitrack support and automatic volume matching give you more flexibility and control. Visually remove unwanted noises with the editing tools available in Spectral view.

Work with ready to use audio assets:
Personalize your soundtracks with the enhanced Soundbooth Score editing workflow. Download Soundbooth Scores from Resource Central, and use new multitrack support to customize, combine, or layer multiple scores. Add effects to adjust the mood, or stretch or shorten the file to alter duration.

Use intuitive, task based tools:
Tackle everyday audio editing and cleanup with the power of nondestructive editing in the new Adobe Sound Document (ASND) format. Quickly and easily heal sound, match volume levels, create sound effects, and choose from a library of high-quality audio filters and streamlined mastering tools.

Enjoy tighter integration:
Eliminate the need for intermediate rendering and streamline the process of editing audio in Soundbooth while working in various Adobe Creative Suite components with features such as new nondestructive roundtrip editing and Adobe Dynamic Link.

Adobe OnLocation CS4 for shooting direct to disk and monitoring footage.

Adobe OnLocationCS4 is powerful cross-platform (Windows and Intel based Macs), direct to disk recording and monitoring software that helps you shoot better and faster. The completely redesigned interface puts control of all functions on a single screen and features the familiar look and feel of other Adobe creative applications. Use the professional on set monitoring tools to calibrate your camera, set levels, and monitor signals to obtain the best quality video and audio and avoid time consuming and potentially costly problems.

Shooting and capturing video directly to disk lets you record a two-hour event as a single clip or shoot as many takes of a scene as you need to get it right no changing tapes, no solid state memory time limits, no missed action. It's a director's dream come true but when you're editing, finding that one perfect take among dozens of outtakes can be difficult. To make it easier, Adobe OnLocation CS4 offers a Shot List that enables you to re-record multiple takes of the same scene retaining the metadata automatically from the original master shot. When you edit the footage in Adobe Premiere Pro, you can search for a favorite take simply by searching for metadata logged while you originally recorded the footage. Or, run the speech to text feature in Adobe Premiere Pro, which uses new metadata support to find words spoken by the talent.

Adobe Encore CS4:
Use Encore to create DVDs and high definition Blu-ray Discs, and with one click, easily save projects you designed to be delivered to disc as interactive content compatible with Adobe Flash Player for the web.

While on location, use Encore to output SWF file versions of your dailies to post online.

It should be possible to get Adobe Creative Suite 4 Master Collection running on a system with the following minimal system spec, although it is unlikely that the system would run well.

System Requirements:
· CPU : 2GHz or faster processor for DV;3.4GHz for HDV; dual 2.8GHz for HD Important:
· An SSE2 enabled processor is required for AMD systems.
· Operating System: Windows XP SP2/Vista SP1 32 bit
· QuickTime compatibility with 64-bit editions of Windows.
· Memory: 2GB of RAM
· Hard Drive Space: 24.3GB of available hard-disk space for installation.
· Monitor: 1,280×900 display with OpenGL 2.0-compatible graphics card
· Video Card: Graphics support for Shader Model 3.0
· Dedicated 7200 RPM hard drive for DV and HDV editing; striped disk array storage (RAID 0) for HD; SCSI disk subsystem preferred
· For SD/HD workflows, an Adobe certified card for capture and export to tape
· OHCI compatible IEEE 1394 port for DV and HDV capture, export to tape, and transmit to DV device
· DVD-ROM drive (DVD+ R burner required for DVD creation) Blu-ray burner required for Blu-ray disc creation
· Microsoft Windows Driver Model or ASIO compatible sound card
· QuickTime 7.4.5 required for QuickTime and multimedia features
· Broadband Internet connection required for online services

Size: 8.149 GB

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Adobe Illustrator CS2

Increased speed, dependability, and ease of use, and a handful of truly useful new features make Illustrator CS2 one of the most exciting updates released by Adobe in recent years.

As Illustrator, Photoshop, InDesign, and GoLive continue to play better together, the recently released Illustrator CS2 is redefining itself as a vector art creation tool by incorporating an improved working environment; new drawing, painting, and tracing tools; and by seamlessly integrating live Photoshop effects with Illustrator's unmatched Appearance Palette. The question is not "Should I upgrade to Adobe Illustrator CS2?" but rather, "How soon can I get my hands on it?" And that's coming from someone who's used many a previous version and the CS2 beta constantly in many projects for The Chopping Block, a design studio in New York City.

Getting Things Done:
Previous versions of Adobe Illustrator left its users feeling a bit cramped for working space. I, along with many other designers and illustrators, was more than accustomed to working with palettes two rows deep, and at the same time, hesitant to close or move any floating palettes from within reach.

Adobe heard our cries of frustration and delivered. Illustrator CS2's first new addition is the Control Palette, sitting (by default!) at the top of a document. What would you say if I told you that 80 percent of the controls you need the most are all in this one place? While the Control Palette looks similar to the Options Palette in Photoshop, it performs in an entirely different way. Within Illustrator CS2, the Control Palette is context-sensitive, which means it changes based on what objects -- and what type of object -- you have selected. It offers stroke, fill, type, alignment, and a handful of other options. You can even customize your Control Palette options using the fly-out menu on the right. While it may take seasoned users a little while to get comfy using the Control Palette exclusively, I can help you along by pointing out that many of the additional full palette options are linked to off the Control Palette itself.

Now that I've teased you with the ideas of less palette clutter and customizing your working environment, it's time to pull out the big guns and acquaint you with Custom Workspaces, a feature I've wanted for a while now. The ability to save your palette layout - or several different palette layouts - in what Adobe calls "workspaces" has made its way from other CS apps into Illustrator. It's right where you'd expect it to be, at the top of the Window menu, and it allows you to save, share, and access saved palette layouts for specific tasks.

Although you'll want to build you own, Illustrator also comes with two workspaces. The first one, appropriately titled "default," is the safety. It returns all palettes to the default Illustrator CS locations. The other workspace, called "minimal," shifts the Control Palette to the bottom of the screen and frees up the rest of the working environment. Regardless of how you use them, the Control Palette and Custom Workspaces will have a dramatic effect on day-to-day tasks, allowing users of all kinds to work more efficiently.

Live Paint:
Traditionally, you build compositions in Illustrator using a fairly simple stackable object model; in fact, that's where most designers and illustrators first learned the concept of "send to back" and "bring to front." Beyond this, many of us have become accustomed to using groups or the pathfinder tools to nest or combine basic objects into more complex shapes. Live Paint introduces a better, faster way in an entirely new kind of drawing object: a live paint object. You can convert any traditional Illustrator object to a Live Paint object by clicking on a selected group of objects with the new Live Paint Bucket or Live Paint Selection tool. Once converted, the new tools can then easily fill any region in one click, automatically detecting and correcting for gaps, and solving one of the more frustrating side effects of traditionally structured compositions by opening up entirely new possibilities for drawing and design techniques.

If you hold the shift key down while using the Live Paint Bucket, you can fill any edge of a Live Paint object, and the Live Paint Selection tool not only lets you shift-click and modify many regions or edges at once, but also select and delete any unwanted or stray regions or strokes. This not only makes it much easier to quickly and precisely edit drawings in Illustrator, but it brings one of the speed advantages of drawing in Flash into Illustrator CS2.

Live Trace:
Illustrator CS2's high profile new feature is so insanely integrated and so long-needed that simply knowing its there, or seeing it work once, will make you reach for the software box. Live Trace is not your father's tracing tool - more importantly, it's not Adobe's Streamline application. Live Trace is new, and it's better.

Here's how it works: Placed bitmaps within Illustrator CS2 are treated as a linked file object.

From the Control Palette, all you need to do is click the Live Trace button, and the bitmap image is converted to editable and scalable vector paths.

By default, Illustrator CS2 traces the image in black and white, but the drop-down menu next to the Live Trace button gives you direct access to thirteen built-in tracing presets. If you place a full-color image, select "Color 6" to see the results.

You're now dealing with a Live Trace Object, and the Control Palette makes it extremely easy to tweak the trace results and see them live. Modifying the "Max Colors" or "Min Area" adjusts how Live Trace interprets the original image. Beyond this, the Control Palette also holds a button to launch the full Tracing Options dialog box, which gives you full control over the aforementioned tracing options and a handful more.

My favorite slider is the blur control, where you can soften a placed image and smooth the lines of a trace.

Perhaps most important is the "Live" part of Live Trace - it indicates that you can still edit your original placed bitmap and all of the effects, trace and all, will update accordingly.

Putting Live Trace and Live Paint Together:
While new and previous users will find many ways of incorporating these new tools into their projects, the real power of Illustrator CS2 is in how well these new features work together. Many ideas start as a sketch on paper, maybe even a napkin. Unfortunately, the traditional design workflow has always left us struggling to redraw these ideas using beziers or a brush. Now all we have to do is scan our images, place them in Illustrator CS2, and apply our Live Trace.

Words can't describe how easy it is... It's a cliché, but it's true, so here's a step by step example I created for this review. In the images below, you can see how I used the full tracing options and the blur slider to smooth out the pencil marks from my scanned sketch.

Now the real fun began. I used the Control Palette (I could have used Live Paint Bucket as well) to convert my Live Trace object to a Live Paint object and quickly color the regions of my sketch. Long-time Illustrator fans will love the fact that at any time, you can use the direct selection or pen tools to modify the points and beziers of any Live Trace Object. You can even fill regions with null color and allow the artwork behind a Live Trace object to show through, as I did below.

It's All Coming Together:
Years ago, Adobe introduced the Appearance Palette into Illustrator, and for the past several updates, the logic of the Appearance Palette has continued to solidify. What is always shocking to me as a designer and illustrator is how many Illustrator users haven't embraced (or even explored) the Appearance Palette. "But why is this important to this review?" you may ask. It's quite simple.

Every object, group, and layer in your Illustrator file has an associated appearance stack. Each appearance stack can hold an unlimited amount of strokes, fills, and effects. In addition, each stroke and fill can hold its own effects. And every effect is LIVE, meaning you can double-click on it and modify it, as many times as you want, forever. Users of all types understand how important it is to have endless edit capabilities, and there is no other tool like it.

With this release, Illustrator CS2 continues to strengthen the Appearance Palette. Not only has it completely integrated Live Paint and Live TraceAppearance Palette, but all of Photoshop's effects (including the effects gallery) are now available directly inside Illustrator, and yes, they are live, a little trick that Photoshop itself can't even do!

So Much More:
There are a handful of really solid additional features and tweaks I haven't yet mentioned. Given Illustrator's exceptionally wide range of users, I'm willing to bet that some of these might be even more valuable to certain people than the major features described above. Here are a few I absolutely must mention:

* Double clicking on any group of objects or a Live Paint object triggers an isolation mode in which you can modify, move, and edit internal objects without digging through the Layers Palette.
* Expanded Stroke Options let you control the position of a stroke on a path by choosing centered, inside, or outside.
* You can assign a spot color to a linked, embedded, or opened grayscale image, and apply a spot color to a drop shadow and be confident that artwork will separate properly when printing.
* Swatch and color integration with the rest of the CS2 Suite Applications is seamless (this is huge!).
* Full support for the latest Wacom tablets and brush support for the new Wacom 6D Art Pen.
* Support for Photoshop Layer Comps.
* Enhanced page tiling controls lets you more easily create large tile-based printed mock-ups or multi-page PDFs.
* Dramatically improved artwork export and preview options for mobile devices in any SVG format, including SVG-tiny.
* Enhanced PDF/X Support.

Is It Perfect Yet?
With all of these great additions and improvements, it's difficult to find things to dislike. But as with many applications, even when it's great, it can always be better. I would like to see the document default center point moved to the upper left hand corner, and there are unfortunately still more tool options and often-overlooked features scattered throughout the application. Many users still bring up the lack of multi-page layout support. (However, the suite approach is working well for us at The Chopping Block, and we have been using Illustrator CS2 in conjunction with InDesign CS2 for our multi-page needs.) The program would benefit from more live painting tools and stronger isolation mode options - all the things I didn't even know I wanted until I started using Illustrator CS2.

Size: 276.43 MB

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Adobe GoLive CS2

It may not be fair, but Adobe GoLive CS2 rolled onto the market under a cloud. Just a few weeks after Adobe announced the entire Creative Suite 2 (which includes new versions of Photoshop, InDesign, Illustrator, Acrobat, Version Cue, and the new Adobe Bridge), Adobe revealed it was buying Macromedia, the house of Dreamweaver, GoLive's main competition. It's unclear what Adobe will do with its two step siblings - bolt them together to form a GoDream or a DreamLiver? Sell one off? Or (gulp) kill one? But nothing will happen soon. And since Web pages don't design themselves, let's look at the tool we have in hand right now.

Family Member:
One of GoLive's greatest strengths is its association with the rest of the Creative Suite. If you regularly rely on Photoshop, Illustrator, or InDesign to accomplish your work, your decision to use GoLive CS2 may already be made. Happily, Adobe didn't take bundle buyers for granted, even if that's the way many designers are being exposed to GoLive. Using the new Bridge application, you can navigate to your assets via a visual preview instead of guessing at file names or thumbnail icons; I appreciate this when I'm trying to find an image buried in the midst of several nearly identical test versions that each have slight variations.

How many times have you worked with a color in GoLive, switched to Photoshop to use that color as the background for an image, and promptly forgot which specific shade of blue you selected in GoLive? Now, if you first save your custom swatch collection, you can load it in the other applications, though that involves manually exporting and loading the collection each time. In the real world, I don't open and close Pantone books whenever I switch tasks, so I'd like to see some sort of Smart Swatch that updates automatically in all applications in a future version of the Creative Suite.

One definite CS2 improvement, however, is the capability to view multiple swatch collections within a palette, each with their own tab. Switching between the Mac OS and Web Named Colors swatches is now a matter of clicking a tab instead of heading to the palette's popout menu.

That CSS Religion:
Today's Web isn't the same one started by your parents - well, your younger self, at least. While the Web's content is still structured in HTML, Cascading Style Sheets (CSS) provide a more elegant, flexible method of building Web pages. Say goodbye to table-based layout hacks.

GoLive CS2 embraces this new Web order by adding CSS Block Objects. The new CSS palette has seven layout schemes, including Three Columns: Scaling Center and Two Liquid Columns ("liquid" being the term for columns whose widths adjust based on the size of the Web browser window). You can change the schemes' settings in the Inspector, such as specifying a new fixed width for a column or giving it a human readable name. However, I discovered a small bug: if you include spaces in the name, the layout will vanish when you switch between the Source editor and Layout editor. This makes sense in the code (because a browser will read the name as two words, not one identifier), but it shouldn't be so easy to make this mistake in the Inspector's field. Like GoLive's other tools, you drag an object to your layout and then populate its sections.

CSS Block Objects take some of the work out of building a design and wrapping it in an easily editable template. After building your CSS layout, save the class styles that GoLive created into the site's external style sheet (which GoLive also now creates by default): Drag them from the page's CSS Editor window to the external sheet's CSS Editor window. Then, save your page as a template. Any pages you build from that template follow the CSS in the external style sheet, so editing the styles there (for example, applying a solid border instead of a dotted one) applies to all of the pages.

Adobe also did something wonderful in GoLive CS2: They came up with a worthwhile use for the Layout Grid! An admirable idea when it was introduced, the Layout Grid was meant to give designers a way to create Web pages graphically in the same way they built pages in desktop publishing programs: by placing elements where you want them to appear, not limited by the conventions of HTML. Unfortunately, the Layout Grid was a complex hack that built overly complex HTML tables to "position" elements. To the developers' credit, Layout Grid improved greatly over time, producing cleaner HTML code.

Web coding has finally caught up to what the original GoLive developers pioneered, only now the Layout Grid's underlying structure is CSS - which, coincidentally, excels at placing objects in specific places. The CS2 Layout Grid is even more useful as a quick previsualization tool, or the first steps toward developing a CSS based structure.

Helpful Refinements:
Adobe continues to break away from the desktop computer screen with GoLive CS2, enhancing support for what it believes is the next frontier of the Web - cellular phones and handheld devices. The Live Preview window in GoLive CS2 includes an SSR (small screen rendering) button to give you an idea of how your page will appear on a phone's screen. If you're creating solely for mobile devices, you can create XHTML-MP (Mobile Profile) workspaces that are set up for authoring WAP-compatible pages.

A few other small improvements will help the overworked designer avoid some drudgery. You can now crop images within GoLive, avoiding a trip to Photoshop to fine tune the picture. If you're using a Smart Object, the original remains intact; similarly, if you later edit the original, GoLive retains the cropped area. You can always click the Use Original Image button to discard the cropping you've applied.

If you're in the process of upgrading an older site to more recent Web standards, the capability to batch convert HTML pages to XHTML provides a good start while saving you from touching every file manually. And when it's time to upload the files to the server, companies more concerned about security can opt to use the SFTP (secure FTP) protocol.

GoLive CS2 also steps into the blogging realm with support for custom tags for SixApart's Movable Type and TypePad blogging services. I don't have Movable Type installed on a server, so I couldn't give it a whirl, but bringing the sidebar portion of my TypePad site made it easier to edit than accessing the code directly - I was much less liable to accidentally delete a command that TypePad relies on.

Stability:
Previous versions of GoLive weren't known for their stability. Unfortunately, GoLive CS2 doesn't solve this problem. On several occasions, the program crashed at random times: When I was command dragging from a selection to the site window to create a URL, for example, and removing right justification from a paragraph. My old habit of reflexively hitting Command-S often to save the file I'm working on serves me well.

Colleagues who are more adept at server interactions than I have run into some issues when synchronizing pages, and I've been able to confirm generally pokey behavior in the SFTP implementation (caused, I learned, by a new FTP engine that supports the SFTP protocol being used in GoLive CS2). The good news is that Adobe is aware of these issues and is actively pursuing fixes for them.

Looking Ahead:
In light of the Adobe Macromedia deal, the future of GoLive remains hazy. Because of this and the program's weaknesses, I can't recommend that you buy it now for the first time, nor switch from Dreamweaver. But if you're already highly invested in the rest of Adobe's professional suite, there's no doubt that GoLive CS2 is the Web design application of today. It no longer feels like a distant cousin brought to the family reunion, as in the early days, but rather a full fledged member of the family.

Size: 104.4 MB

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Adobe Illustrator CS4

I’ve always believed that Adobe Illustrator suffers from an identity crisis. Unlike Photoshop or InDesign, which are easy to describe with a single descriptive phrase (“photo editing,” “page layout”), Illustrator has always been referred to more generically as a "vector graphics application." Yet Illustrator CS4, now in its fourteenth version, has evolved into an essential design tool for just about every type of creative professional.

Thirteen versions and twenty-one years after the very first Illustrator, Adobe is rolling out beta versions of Illustrator CS4. After so many iterations, you might wonder what Adobe could possibly do to make Illustrator CS4 worth the cost of the upgrade. In this preview, I am going to highlight the most noticeable changes with big scoops of screenshots and video to give you a real taste of the new Illustrator. Note: this preview is done on the Windows version of Illustrator CS4 Beta.

At version number fourteen, finding more features to improve the already near-perfect Illustrator app is probably quite the challenge for the developers at Adobe. Yet, they’ve managed to do it again and we’ll go into these features in just a moment.

At one time, Illustrator competed head to head with FreeHand. But after Adobe acquired Macromedia, it announced it would no longer develop FreeHand. And the other mainstream competitors to Illustrator, Corel’s CorelDRAW Graphics Suite X4 and ACD System’s Canvas 11, don't run on Macs, and neither app has secured a significant foothold in the professional design community.

That makes me especially happy to tell you that the Illustrator CS4 upgrade offers a little bit of everything: entirely new features and significant enhancements that will appeal both to longtime users and to people migrating from FreeHand. And, probably the most impressive of all to me, a collection of “little things” give Illustrator an overall polished feel.

Sound the trumpets! Release the balloons! The most requested Illustrator feature of all time -- multiple artboards -- has finally arrived. A single document can now contain up to 100 artboards, and each artboard can be of its own size and orientation (they can even overlap each other). Each Illustrator document contains a single large overall “canvas” where you can easily manage all of your artboards, using Illustrator’s new Artboard tool.

When the Artboard tool is selected, Illustrator switches to Artboard Edit Mode, allowing you to move, copy, add, or delete artboards. A toggle lets you specify whether the artwork on an artboard moves along with the artboard, or whether artboards move independently. The improved Smart Guides feature (covered later in this review) also works on artboards, making it easy to arrange them.

Because you need to be in Artboard Edit Mode in order to manage artboards, I find that artboards never get in the way of my work -- they are there when I need it, and don’t bother me when I don’t.

Most importantly, artboards act just like pages do -- you can print and export just the pages you need, and creating a multi-page PDF document to show ideas or concepts to a client works as you’d expect. You can even place multi-page native Illustrator documents into Photoshop, InDesign, and Flash. The multiple artboard feature is intuitive and easy to use, and it allows you to easily manage artwork across entire campaigns, all within a single document.

Expressive Drawing, without the Excessive Expletives:
When talking to professional artists, animators, and illustrators, I’ve found that many prefer drawing in Photoshop or Painter because those programs allow the pros to more easily express their creativity. Illustrator’s anchor points and control handles can get in the way. Live Paint (added in CS2) does help, but you still have to draw the art before you can begin coloring it. And while Illustrator does have a pressure-sensitive calligraphic brush, the brush strokes don’t work with the Live Paint feature.

So I was immediately drawn (couldn’t resist the pun) to Illustrator’s new Blob Brush tool, as it brings the best of both worlds. Because it works like the pressure-sensitive calligraphic brush, you get an intuitive tool that allows for expressive drawing. At the same time, each paint stroke is automatically expanded as you draw it, making your art instantly compatible with Live Paint, as well as the Eraser tool added in Illustrator CS3.

Perhaps the most innovative feature in CS4, the Blob brush is intelligent. As you draw with the tool, your brush strokes automatically merge with the underlying art, creating a single overall object to work with instead of multiple objects. Since the Blob brush pays attention to color, it will only merge with like-colored objects. For example, when you paint with red, the Blob brush merges only with other red paths. This “painting in context” functionality means you don’t have to continuously lock and unlock objects as you paint. Objects seem to know how to behave as you paint, based on their color attributes.

I absolutely hate the name of the tool (it’s too close to “blah”), but I love using it. You can use the bracket keys to adjust the size of the brush (just as in Photoshop), and if you’re drawing with a Wacom pen, you can flip the pen to over to erase without even thinking about it. It’s the closest thing to real drawing I’ve seen in Illustrator, and it's easy enough (and fun enough) that my five-year old daughter can do it.

Transparency in Gradients… and More:
Ever since gradients were added back in version 5, Illustrator users have longed for the ability to specify transparency to colors in a gradient. In CS4, you can assign an opacity level to any color stop in a gradient, similar to the way Flash designers can specify an Alpha value for colors in a gradient. (The new transparent gradients in Illustrator are compatible with Flash.) But Adobe didn’t stop there. There's also a new gradient widget that lets you edit gradients directly on the artboard. It’s a lot easier to adjust a gradient in context than in an unfriendly gray panel.

Clipping Masks that Really Clip:
While it’s obvious that designers migrating from FreeHand will appreciate the multiple artboards feature, I suspect they'll come to appreciate the new clipping mask behavior in Illustrator CS4 even more.

The biggest complaint about Illustrator masks has been that when artwork is clipped, you can still select that artwork -- even if it isn’t visible. In Illustrator CS4, masked artwork is now truly hidden -- from view and from your selection tool. The improved isolation mode feature (covered later in this review) means that a simple double-click of the mouse lets you easily edit the contents of a mask.

Improved Appearance and Style:
Ever since it was introduced in Illustrator 9, the Appearance panel has become one of the most important panels in the application. In Illustrator CS4, the Appearance panel not only displays information about the attributes applied to an object, it also allows you to modify attributes and add effects. The panel also includes visibility icons (little eyeballs) for each attribute, making it easy to quickly experiment with a variety of applied effects.

Graphic styles are also improved, as you can now apply them to objects cumulatively. In other words, you can either apply a graphic style to a selection and have the style replace the appearance already applied to the object, or you can have the style add the settings on top of the existing appearance of the object.

Sweating the Details:
Illustrator CS4's updated user interface is now consistent across the entire Creative Suite, including Fireworks and Dreamweaver. This was a lot of work for Adobe, which is why they like to talk about it so much. But compared to the new features in Illustrator CS4, a new interface is less exciting.

That being said, the updated interface is functional and unobtrusive. For example, Smart Guides is more refined (and on by default). Smart Guides appear as you work, helping you quickly align or modify files in context. Perhaps the most important aspect of Smart Guides is that they now let you snap objects to guides and to each other. While this is taken for granted in InDesign and Photoshop, the Snap to Point feature in previous sversion of Illustrator only snapped to the cursor. Now, you can easily snap objects precisely to each other without zooming all the way in to make sure they're aligned correctly.

Speaking of aligning objects, the Align panel now easily identifies key objects so that you can align objects to an object that you specify.

Adobe has also greatly enhanced the isolation mode feature in CS4 so you can isolate individual paths. (Previous versions allowed for group isolation only.) Instead of having to constantly lock and unlock objects that get in the way when you're working in complex documents, a simple double-click lets you edit an isolated object with ease.

A Little Something for Everyone:
While the many enhancements in Illustrator appeal to all types of designers, certain improvements alone will be worth the price of admission to users in certain fields:

Cartographers will especially appreciate an overhauled Type on Path engine, which does a much better job when setting type that following along a vector path.

Prepress operators will find value in the new Separations Preview panel. While it doesn’t feature the powerful Ink Manager found in InDesign or Acrobat Pro, it performs ably as advertised, previewing process and spot colors on screen.

Environmental and industrial designers will welcome Illustrator’s ability to simulate artwork on screen as a person with colorblindness might see it, enabling designers to ensure the right amount of contrast in their designs. Approximately 7 percent of Americans are color blind (that’s 10.5 million people), some governments (especially so in Japan) have been particularly vigilant in taking steps to ensure that public signage is clearly visible to all.

The Verdict:
Is Illustrator CS4 now the perfect application? Has the software reached its true potential? Far from it. Because Illustrator appeals to such a large audience, additional functionality is always on my wish list. Where is a sophisticated pattern generator for fashion designers? What about powerful controls for better anti-aliasing that web and interface designers crave? How about the ability to create interactive PDF documents and flowcharts? Why not an updated graphing feature or a core set of smart drawing tools? There are still plenty of features that can be added.

But that doesn’t take anything away from the fact that Illustrator CS4 is the perfect upgrade. I’ve been using Illustrator in a professional capacity for more than 15 years now, and I think this is the most appealing upgrade to Illustrator ever. Why? Because it’s relevant. Some versions contain features that might be cool -- and even incredibly useful -- but that are used only once in a while (e.g., 3D, Live Trace, Live Color).

In a truly refreshing contrast, just about every enhancement in Illustrator CS4 is core functionality -- all of which I’m already relying on each day.

Features to Write Home About:
Aside from the previous mentions of the new multipage Artboards and the Blob brush tool, here are some fun tidbits of the new version.

This tool, which doesn’t have an official name, allows you to view your image on screen, as someone who is colorblind would see it. Why is this important, you might ask? Well, other than the entertainment value, it allows you as a designer to see the contrast (or lack of) in your image and whether the almost 8% of colorblind people will see it clearly enough.

Awesome Features:
Probably the best improvement to the new Illustrator is the ability to work with multiple pages and the new Artboard tool. Basically, cropped areas become new Artboards and each Artboard is treated as a separate page. There are still some things Adobe needs to figure about this approach, but it’s definitely a good, much anticipated feature.

Updated Gradient Panel:
Adobe finally addressed one of my biggest complaints about Illustrator: the inability to form a gradient from color to transparency. Now, Gradients have opacity options – Finally! This option lets you select any of the colors on the gradient slider and choose its opacity. For even more control, you can now double click on the color slider and access the full range of color picking tools.

Artboard Tool:
While this could technically fall under “changed” features, it is cool enough to warrant its recognition as a whole new feature. The artboard tool is an evolution of the crop area tool from Illustrator CS3. However, instead of using cumbersome hotkeys to create multiple crop areas, CS4 re-thinks the whole concept of an artboard. In CS4, using the artboard tool will create a new artboard by default and give it a number automatically. Clicking on the white space of any artboard with the Selection Tool will activate it. These new artboards are way better than the nearly invisible crop areas of CS3, and make it much easier to manage projects-in-progress! Adobe makes it clear that these new artboards mean business – Artboards can have their own rulers! Just right click on the active artboard and tick “show artboard rulers”. Artboards are always editable – you can resize and move them around until you’re satisfied.

Most importantly, this tool is very well integrated into the Export window. Finally, you can export multiple artboards (crop areas) to separate files in one step!

Last, we’ve got artboards within artboards. if you think this is getting ridiculous – so do I. While I can hardly imagine the need for nested artboards (on top of the document-taming tab tools in CS4), Adobe must have found a need for this feature. To enable it, simply hold shift while dragging with the artboard tool inside of an existing artboard. Check out the video for a short demonstration of the new artboards in CS4.

Blob Brush Tool:
The first new tool I noticed was the Blob Brush Tool. If you’ve ever worked in flash or frequently expand brushes, you’ll probably appreciate this new tool. Here’s how it works: it organically draws a shape instead of a path. As you draw with the brush, the path is expanded every time you raise your wacom pen (or mouse). Then, as you add more brush strokes, overlapping sections are automatically added together to form one shape.

One problem with older versions of illustrator has been its implementation of brush-based painting. For some time now, Illustrator users have been able to “paint” with brushes that resemble rough ink scrawls, watercolors, and other stylized strokes. However, these paint effects have always been applied one path at a time, with a new path laid down for every stroke of the brush. This approach sometimes results in noisy, chaotic-looking painted areas, instead of smoothly filled forms. The alternative has been to use pen-based drawing tools to arduously manipulate vector outlines, or to draw out a path that defines the boundaries of an object.

Illustrator’s new Blob Brush Tool looks like other brush tools, and responds appropriately to a pressure-sensitive tablet (if you have one) and stroke direction. But rather than stroking each path of your brush with a textured painterly shape, as you lay on strokes, the tool automatically melds any overlapping paths into a single outlined form, no matter how scribbled or chaotic your painting. This lets you paint in an area alternating between large, billowy strokes and small detailed fillets, and end up with a single, solidly filled object that can be re-filled, outlined, and treated with styles, like any vector object. As long as the strokes you’re painting over have the same fill and stroke style as the current brush, Illustrator welds the overlapping surfaces together. This means you can even use the Blob Brush to modify the shape of primitive objects like circles, rectangles, and type outlines.

When the blob brush tool is double clicked, brush options are available. I was happy to see that Wacom tablets will be fully supported with blob brushes. Depending on how the final product turns out, Wacom artists may be able to ditch the Photoshop + Autotracing routine and stay in Illustrator the whole time by using blob brushes.

The Illustrator’s toolbox has been slightly shuffled in Illustrator CS4. The eraser tool is given a more prominent place in a group of often used tools – it now sits along with the pen, text, shape, and brush tools. This means that the scissors and knife tool have also moved (they’re only accessible in the flyout of the eraser). The slice tools use to sleep in the fly out menu from the crop tool. Now, they have their own spot on the toolbar.

Finally, while having little effect on your workflow, Adobe moved their logo and link from the tool box to the menu bar. These are the kind of little tweaks I really enjoy – they make CS4 feel more polished, refined and purposeful.

The paradox of new software is that it must balance conflicting interests: more power and improved usability. That is probably why the most recent versions of Illustrator keep re-thinking panel (they’re only palettes in Photoshop) management. Well, CS4 is no exception. The brains at Adobe have made workspace presets more accessible by putting a drop-down menu right above the panels. They’ve also done a lot of the leg work to convince us that custom workspaces can save time. These presets are easily accessible and fill the dock with customized panels for typography, web, painting, etc. The presets from Adobe also include application specific layouts such as “Like Photoshop”.

CS4 has more document management tricks up its sleeve – frames. These frames are accessed via a little icon to the right of the menu bar called “Arrange Documents”. Click and you’ll find a drop down list of frame presets for two, three, four and more open documents. These presets are useful for comparing two documents side by side (especially on that new 30″ cinema display, right?). The “Arrange Documents” menu contains many presets for arranging open documents – stack side by side, on top of each other, in a grid, etc.

The next interface change may have you wondering if there is something wrong with your view settings. No, everything is working fine. Illustrator is overriding the Microsoft Windows Title Bar – the minimize, maximize and close buttons are integrated right into the main window (similar to Google Chrome). This not so subtle tweak actually saves quite a few pixels, which, it turns out, you’re going to need!

One of the best changes to the user interface in Illustrator CS4 is document tabs. If you have more than one Illustrator document open at a time, they automatically form tabs ala Firefox. If you want, these tabs can be separated from the main Illustrator window by grabbing the tab and dragging outward. You’re probably already an expert at managing tabs, and after a few minutes in Illustrator CS4 you’ll wonder how you put up with all that minimizing and restoring of documents. Tabbed documents save a lot of clicks.

If you look closely at the screenshot below, you’ll also notice that there is no ‘Filter’ menu – only an ‘Effects’ menu. I speculate that Adobe did away with the redundancy of the filter menu because of increases in effect performance and changes to the appearance panel.

Another great improvement is the new Blob brush tool. It can best be described as an “intelligent” brush, one that is pressure sensitive and merges with other (same colored) objects to create one seamless path. You can even use the Eraser tool with it.

Functionality and User Friendliness:
For those who have already used Adobe’s products, the user interface is very similar so you won’t have a lot to learn. I find the interface intuitive, even without much training in the software and like the “tabbed” appearance.

This version seems streamlined. For example, the new Appearance panel merges several panels you would have had to use separately in the past and gives a one-click access to editing your selected object. There have also been some definite improvements with the gradient tool from previous versions.

The basics about Illustrator: it’s compatible with both Mac and Windows, has a bevy of add-ons, plug-ins, and tutorials to choose from that will enhance your user experience. If you’re new to drawing, you’ll find help in the form of books, forums, how-to articles, and even videos. For the more seasoned users, if there’s something you want to do, there’s probably a (third-party) plug in for that. It’s a heavy app so make sure your hardware meets the requirements listed on Adobe’s page.

The catch is that Adobe Illustrator CS4 is unlike raster-based digital arts programs; Illustrator is vector based and therefore not designed to simulate the behavior of traditional media. If recreating an artist’s studio is what you’re into, then go straight for Corel Painter 11. To understand the differences, first know that vector based programs (like Illustrator) represent images and graphics in terms of mathematical formulas. Raster based programs represent images by their pixels, the individual points of color that collectively make up your image. The only thing you need to take away from these differences is that vector images, thanks to their mathematical properties, can be resized again and again without degrading. Raster images when scaled will lose clarity but raster graphics are much better for color-rich things like photographs.

With that said, Adobe Illustrator CS4 is a powerful graphics program and integrates seamlessly with the rest of the Adobe production suite (Photoshop, a raster based program, InDesign, and Dreamweaver).

Degrees of Separation:
While Adobe has been a bit slow to add new toys to the Illustrator toolbox, it has compensated by maintaining an efficient, reliable production environment suited to the tasks at hand. This release is no exception. The capability to quickly preview color separations in the new Separations Preview panel is particularly helpful for identifying unwanted spot colors and avoiding costly printing mistakes.

Another powerful performance enhancer is the new ability to manipulate appearance elements within the Appearance panel. For example, you can click on an effect, such as 3D Extrude & Bevel, within the Appearance panel to modify its settings. Complex appearances can take a long time to render, and they may need to be updated with every change to your artwork. In this version of Illustrator, you can hide appearance elements to dramatically improve Illustrator’s performance.

Adobe has also updated the graphic styles functionality in Illustrator, so it’s now much easier to save and apply sets of attributes, such as fill color, stroke style, layering, and graphic effects. These graphic styles make fast work of repeatedly applying effects to multiple objects.

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