Adobe Illustrator cs2

FreeHand to Illustrator Migration Guide
2006 Adobe Systems Incorporated. All rights reserved. Adobe FreeHand to Adobe Illustrator CS2 Migration Guide If this guide is distributed with software that includes an end user agreement, this guide, as well as the software described in it, is furnished under license and may be used or copied only in accordance with the terms of such license. Except as permitted by any such license, no part of this guide may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, recording, or otherwise, without the prior written permission of Adobe Systems Incorporated. Please note that the content in this guide is protected under copyright law even if it is not distributed with software that includes an end user license agreement. The content of this guide is furnished for informational use only, is subject to change without notice, and should not be construed as a commitment by Adobe Systems Incorporated. Adobe Systems Incorporated assumes no responsibility or liability for any errors or inaccuracies that may appear in the informational content contained in this guide. Please remember that existing artwork or images that you may want to include in your project may be protected under copyright law. The unauthorized incorporation of such material into your new work could be a violation of the rights of the copyright owner. Please be sure to obtain any permission required from the copyright owner. Any references to company names in sample templates are for demonstration purposes only and are not intended to refer to any actual organization. Adobe, the Adobe logo, Acrobat, Flash, GoLive, Illustrator, InDesign, Photoshop, PostScript, Reader, and Version Cue are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. Mac is a trademark of Apple Computer, Inc., registered in the United States and other countries. Microsoft and OpenType are either registered trademarks or trademarks of Microsoft Corporation in the United States and/or other countries. All other trademarks are the property of their respective owners. Adobe Systems Incorporated, 345 Park Avenue, San Jose, California 95110-2704, USA. Notice to U.S. Government End Users. The Software and Documentation are Commercial Items, as that term is defined at 48 C.F.R. 2.101, consisting of Commercial Computer Software and Commercial Computer Software Documentation, as such terms are used in 48 C.F.R. 12.212 or 48 C.F.R. 227.7202, as applicable. Consistent with 48 C.F.R. 12.212 or 48 C.F.R. 227.7202-1 through 227.7202-4, as applicable, the Commercial Computer Software and Commercial Computer Software Documentation are being licensed to U.S. Government end users (a) only as Commercial Items and (b) with only those rights as are granted to all other end users pursuant to the terms and conditions herein. Unpublished-rights reserved under the copyright laws of the United States. Adobe Systems Incorporated, 345 Park Avenue, San Jose, CA 95110-2704, USA. For U.S. Government End Users, Adobe agrees to comply with all applicable equal opportunity laws including, if appropriate, the provisions of Executive Order 11246, as amended, Section 402 of the Vietnam Era Veterans Readjustment Assistance Act of 1974 (38 USC 4212), and Section 503 of the Rehabilitation Act of 1973, as amended, and the regulations at 41 CFR Parts 60-1 through 60-60, 60-250, and 60-741. The affirmative action clause and regulations contained in the preceding sentence shall be incorporated by reference. Part number: 95006283

Contents

Introduction. 4
The purpose of this guide and how it can be useful for FreeHand users.

Key Terms. 6

Learn how Illustrator terms compare with those in FreeHand.
Converting FreeHand Documents.. 9
Discover how to open your FreeHand documents in Illustrator.
The Illustrator Workspace. 10
Take a tour of the Illustrator CS2 workspace, which offers robust new creativity tools, a context-sensitive Control palette, and custom workspaces for personal preferences or project requirements.
Setting Up a New Document..14
Learn how to best prepare your artboard for your illustrations.
Working with Graphics. 18
See easy it is to create predictable gradients, patterns and elaborate effects.

Working with Text. 26

Take your text to a new level with extensive and powerful text tools, including Character and Paragraph palettes and styles, flexible OpenType fonts, support for text on a path, and more.
Saving and Exporting Files. 30
Save and export your artwork to many standard file formats such as PDF, SVG, or Flash for print workflows and the web.
Printing Illustrator Artwork. 34
Print your artwork reliably thanks to a streamlined print interface and such features as support for transparency flattening and Adobe PDF output.

Keyboard Shortcuts. 38

A list of some of the most useful Illustrator CS2 keyboard shortcuts.

Additional Resources. 42

Information on many useful resources for anyone who wants to learn more about Illustrator features, tools, and techniques.

Introduction

Welcome, and thank you for having made the move or thinking about moving from Adobe FreeHand to Adobe Illustrator CS2. This guide explains the main differences between the two programs and introduces you to some of the features that make Illustrator the best choice for creating vector graphics for any media. It was written specifically for FreeHand users like you to help you transition as quickly and as smoothly as possible. With the experience you have acquired using FreeHand, the transition will be an easy one. If you have been using Adobe Photoshop or Adobe InDesign, your move will be even easier because all Adobe graphics applications share common commands, palettes, and keyboard shortcuts. Illustrator is perfectly integrated with all applications in the Adobe Creative Suite and with Adobe Bridge, it has become easier than ever to manage and organize files. The Live Trace and Live Paint features in Illustrator make it easier to get your sketches onto your workspace as vector graphics. Integration with Photoshop, including the ability to choose Layer Comps during import and support for Photoshop filters and effects, opens new horizons for vector graphics. Illustrator also gives you access to many OpenType features to help you create beautiful typography. Discover the power of integration between all Adobe applications. For example, link directly to multilayered Photoshop files, export your Illustrator layers directly to Photoshop, or save your documents as Adobe PDF or export them for the web or mobile devices. Your experience in FreeHand will get you up-to-speed very rapidly.

FreeHand to Illustrator Migration Guide
Turn sketches into vector graphics
Get total control of your objects
INVITATION FOR THE ECLIPSE EP

TECHTON FLU

Make elaborate and predictable blends
Create sophisticated transparency

Fea for One

Use familiar tools Set beautiful typography

with TechtonFlu

Take advantage of advanced 3D features Introduction

Key Terms

Because FreeHand and Illustrator are both vector drawing programs, they share many common tools and commands. Many of the terms used in the Illustrator menus, dialog boxes, and palettes are identical to those used in FreeHand. For example, tools and layers are essentially the same in both programs. In some cases, FreeHand and Illustrator use
FreeHand Term Illustrator Term
Pasteboard Scratch Area What you know as the pasteboard in FreeHand is called the scratch area in Illustrator. The scratch area is the area outside the artboard that extends to the edge of a 227inch square window. The scratch area represents the space on which you can create, edit, and store elements of artwork before moving them onto the artboard. Objects placed on the scratch area are visible onscreen, but they do not print. Pages Artboard In FreeHand you can set up multiple pages within a single document; Illustrator considers the document and its artboard as one illustration. If you need to output specific areas of your illustration you can use the Page tool, apply a Crop Area, or print overlapping tiles. Panels Palettes In FreeHand you use panels to monitor and modify your work. In Illustrator, you use palettes. You can move, dock, group, or save the position of a palette in the Workspace. Object Properties Panel Appearance palette In FreeHand, the Object Properties Panel is a context sensitive area where you access formatting options for any selected object. In Illustrator, to achieve the same function, you use both the Appearance palette and the context-sensitive Control palette. The Appearance palette lets you view and adjust the appearance of attributes for any object, group, or layer. Fills and strokes are listed in stacking order in the palette. Effects are listed from top to bottom in the order in which they are applied to the artwork. To display the palette, choose Window > Appearance.
Palettes can be moved, docked, and grouped.
You control the attributes of objects in the Appearance palette.

The icons for Illustrator documents (top) and templates (bottom) help you determine the type of file before you open it.
Two of the many templates included with Illustrator CS2. You can save any design or layout as a template by choosing File > Save As Template. 14 FreeHand to Illustrator Migration Guide
You can save your artwork as Adobe Illustrator Template (.ait) to reuse it or share it with others. When you select a template using the New From Template command, Illustrator creates a new document with identical content to the template, but leaves the original template file untouched. Wheres the Document panel? In FreeHand, you use the Document panel to target and select pages, choose page dimensions, orientation, bleed settings, and printer resolution. In Illustrator choose File > Document Setup to change the attributes of the artboard. You use the Document Setup dialog box to choose settings for Type and Transparency at the document level. You can also define the dictionary used for spell check and hyphenation, the position of superscripts, the scale for small caps, or how to copy transparency effects over to the clipboard for use within Illustrator or in other applications. In FreeHand, you determine the Bleed Area in the Document panel; in Illustrator, the Bleed area is assigned during printing in the print dialog box.
You can change the document setup by choosing File > Document Setup.

The Illustrator document

The artboard represents the entire area that can contain printable artwork. The artboards dimensions may not match the current page size. For example, your artboard may be 10 x 20 inches while your print settings specify 81/2 x 11-inch paper. You can view the page boundaries in relation to the artboard by
showing page tiling (View > Show Page Tiling). When page tiling is on, the printable and nonprintable areas are represented by a series of solid and dotted lines. You can move the printable area across the artboard by using the Page tool. The scratch area is the area outside of the artboard that extends to the edge of the 227square inch window. The scratch area represents a space on which you can create, edit, and store elements of artwork before moving them onto the artboard. Objects placed onto the scratch area are visible onscreen, but they do not print.
Printable area Nonprintable area (printer margins) Edge of the printed page Artboard Scratch area
Setting up a new document 15
SETTING UP A NEW DOCUMENT
How do I set up measurement units? In Illustrator, there are several ways to select units of measurement: In the Preferences dialog box, choose Units & Display Performance and select a unit of measurement. You can also choose different units for Stroke and Type, which are typically measured in points. Choose the global measurement unit when you create a new document. You can always change the unit of measurement later by using the Document Setup dialog box. Override the default units by entering a value in the Control palette. For example, follow the value by any of the these abbreviations: inch, inches, in, millimeters, millimetres, mm, Qs (one Q equals 0.25 millimeter), centimeters, centimetres, cm, points, p, pt, picas, pc, pixel, pixels, and px.

Fill color Default Fill and Stroke
The color selection box in the Toolbox
18 FreeHand to Illustrator Migration Guide

Live Trace

Live Trace automatically turns placed images into beautifully detailed vector graphics that are easy to edit, resize, and manipulate. To use Live Trace: Step 1: Select a placed bitmap image and click the Live Trace button on the Control palette to create a Live Trace object. Step 2: See the results in the workspace, and adjust your settings if desired on the Control palette. For example, choose a preset for a different type of image, and choose the type of raster or vector preview you want to see. Click the Tracing Options Dialog button to access more advanced tracing options.

Preset menu button

Tracing Options Dialog

Preview options

Create a Live Trace object.

Choose a tracing preset.

Step 3: When tracing black-and-white images, adjust the Threshold setting on the Control palette. Illustrator converts pixels lighter than the Threshold value to white and converts pixels darker than the Threshold value to black. Note: After you trace a bitmap image, you may find details that youd like to remove. Use the Edit Original command in the Links palette to open the image in Photoshop where, for instance, you can remove a border or extraneous detail. Save your changes, and Live Trace automatically retraces the placed image.
Adjust the threshold to finetune the contrast of the traced image.
Tip: Batch-process bitmap images or
Tip: For more on Live Trace, see
sketches using the Live Trace command in Bridge.
Creating Vector Content Using Live Trace on the Adobe website (www.adobe.com/products/illustrator/ pdfs/creating_vector_content.pdf).

Working with Graphics 19

WORKING WITH GRAPHICS

Working with swatches

Swatches are named colors, tints, gradients, and patterns. The swatches associated with a document appear in the Swatches palette. In addition, you can open libraries of swatches from other Illustrator documents and access various color systems. Swatch libraries appear in separate palettes and are not saved with the document until you drag and drop specific swatches to your Swatches palette. How do I access Pantone Libraries? To open a specific swatch library, including PANTONE, HKS, Trumatch, FOCOLTONE, DIC, TOYO, and web colors, choose it from the Window > Swatch Libraries submenu or the Open Swatch Library pop-up menu in the Swatches palette menu. When you open a swatch library, it appears in a new palette (not the Swatches palette as in FreeHand). You select, sort, and view swatches in a swatch library the same as you do in the Swatches palette. In FreeHand, swatches are global (meaning that when you modify the swatch, all items colored with it change accordingly); in Illustrator, you can choose whether or not swatches are global. You can save your own swatch libraries to use in other Illustrator documents. You can also share the swatches you create in one Adobe Creative Suite 2 application with any other Adobe Creative Suite 2 application by saving a swatch library for exchange. The colors look the same across applications as long as your color settings are synchronized.

The Color and Swatches palettes

Patterns

Swatches in Illustrator are not necessarily Global.
Illustrator comes with many patterns that you can access in the Swatches palette and in the Illustrator Extras folder on the Illustrator CD; patterns in Illustrator can be much more intricate than the patterns offered in FreeHand, and you can also design patterns from scratch with any of the Illustrator tools, customize existing patterns, and more importantly, see the resulting patterns on-screen as you work. Patterns tile from left to right from the ruler origin (by default, the bottom left of the artboard) to the opposite side of the artwork. To adjust where all patterns in your artwork begin tiling, you can change the documents ruler origin. Patterns intended for filling objects (fill patterns) differ in design and tiling from patterns intended to be applied to a path with the Brushes palette (brush patterns). For best results, use fill patterns to fill objects and brush patterns to outline objects. Brush patterns can consist of up to five tiles (for the sides, outer corners, inner corners, and the beginning and end of the path). The additional corner tiles enable brush patterns to flow smoothly at corners.
Drag vector graphics into the Swatches palette and use them as patterns to be applied to fills and strokes. 20 FreeHand to Illustrator Migration Guide

Live Paint

Live Paint lets you paint vector graphics more intuitively by automatically detecting shapes and correcting gaps. To use Live Paint: Step 1: Select a group of objects, and click the Live Paint button on the Control palette to convert the traced vectors or objects to a Live Paint group. Step 2: Use the Live Paint Bucket to fill regions with color or gradients with the click of a button. A red outline indicates regions that can be filled. Or, drag the bucket across multiple regions to select them and fill them at once. Step 3: Click the Gap Options button on the Control palette to locate and repair gaps where color leaks through open edges into adjacent regions.
Convert vectors to a Live Paint group.
Use the Live Paint Bucket for painting.
Control gaps in you artwork.
Live Paint options in the Control palette

Isolates selected group

Tip: Triple-click with the Live Paint
Note: With a Live Paint group selected,
Selection tool to select all regions in a Live Paint group that are filled with the same color.
you can click the Isolates Selected Group button on the Control palette to enter Isolation mode. This mode effectively isolates the group, placing a gray border around it so that you can easily add paths to it.

Working with Graphics 21

Gradients
In Illustrator, you apply gradients to fills and objects from the Swatches palette or the toolbox. You will find that gradients in Illustrator are much smoother than those you can create in FreeHand (without visible linear or radial steps) and output exactly as you have created them. In the Gradient palette, you can choose between radial and linear gradients, and determine the angle of the gradient and the location of colors. There are no handles to manually determine the starting and ending points of a gradient. Click the Gradient tool at the desired starting point and then drag the cursor to the desired ending point. Gradient colors are defined by a series of stops in the gradient slider (a minimum of two). A stop is the point at which a gradient changes from one color to the next and is identified by a square below the gradient slider. To change the color of a gradient stop, drag a color from the Color palette or the Swatches palette onto it. The squares in the Gradient palette display the color currently assigned to each gradient stop. With a radial gradient, the leftmost gradient slider defines the center points color fill, which radiates outward to the color of the right most gradient slider. Once you create or modify a gradient, save it as a swatch by clicking the New Swatch button in the Swatches palette. Alternatively, drag the gradient from the Gradient palette or toolbox to the Swatches palette.

Type tool Area Type tool Type on a Path tool Vertical Type tool Vertical Area Type tool Vertical Type on a Path tool Type tools in the Toolbox
26 FreeHand to Illustrator Migration Guide
clicking and dragging a rectangular shape or use the Area Type tool to select any closed path to contain your text. Type on a path flows along the edge of an open or closed path. The text flows in the direction in which points were added to the path. In addition to typing text in your artwork, you can import it from a variety of text file formats (for example Microsoft Word, RTF, or plain text documents) by choosing File > Place.
How do I insert special characters? To insert special characters or characters for which you do not know the keyboard shortcut, use the Glyphs palette. Using any type tool, click an insertion point where you want to enter the character and then double-click the character you want in the Glyphs palette. How do I format text? In FreeHand, you can format text both in the Object Panel and the Text toolbar. In Illustrator, you can format selected text directly in the Control palette or by using the Character or Paragraph palettes. Where are the text effects? In Illustrator, there are no text specific effects such as highlight, shadow, or zoom. You apply text effects from the Effects menu just as you would with any graphic element. Youll find strikethrough and underline in the Character palette (if you do not see these options, choose Show Options from the palette menu).

Glyphs palette

Control palette
Font selection Size, leading, kerning, and tracking Horizontal and vertical scale, baseline shift, and text rotation Underline and strikethrough Language for hyphenation and spell checking Character palette
Alignment Indents Space before and after paragraph Automatic hyphenation Paragraph palette

Text formatting tools

Working with Text 27

WORKING WITH TEXT

Text on a path
In FreeHand, you attach text to a path; Illustrator lets you type text on a path. You can then move or flip text along the path by dragging the handles that appear on the sides of the text. Choose Type > Type on a Path to specify effects and other options, such as spacing. How do I place text around a circle? In FreeHand, you can press the return key to align a second paragraph of text in the lower part of an object. In Illustrator, you must first divide the object into two sections with the Scissors tool, and then you can flow the text along one path and onto the second path by linking the text objects.

Type path effects include Rainbow, Skew, and Stair Step (shown at top).

Linking text objects

If you want to insert text that will flow from one text area to another you must link them. Each area type object contains an in port and an out port; an empty port indicates that all the text is visible and that the object isnt linked. An arrow in a port indicates that the object is linked to another object. A red plus sign in an out port indicates that the object contains additional text (overflow text).

In port

Tip: Illustrator CS2 threads text between
objects. Click the in or out port of a selected type object, and then click and drag the loaded text icon to create a second threaded object. To break a thread, select a linked type object and double-click the port on either end of the thread.
Out port Thread A red plus sign in an out port indicates that the object contains additional text (overflow text).
When working with text that threads among objects, it can be useful to show the threads; if they are hidden, choose View > Show Text Threads and then select a linked object. How do I create rows and columns in a text area? In FreeHand, you create multiple columns and rows in the Object panel; in Illustrator, you use Area Type Options. Select the text box in which you want to add columns or rows, and choose Type > Area Type Options.
28 FreeHand to Illustrator Migration Guide

OpenType support

The OpenType font standard was developed jointly by Adobe and Microsoft, and it brings the advantages of the PostScript Type 1 and TrueType font formats into a new format that takes advantage of Unicode character encoding. OpenType fonts use a single font file for both Windows and Macintosh computers, so that you can move files from one platform to another without worrying about font substitution and other problems that may cause text to reflow. When working with an OpenType font, you can automatically activate alternate glyphs, such as ligatures, small capitals, fractions, and old style proportional figures. In Illustrator, these options are available in the OpenType palette (Window > Type > OpenType).
Use the OpenType palette to apply such special characters as ligatures, true fractions, ordinals, and stylistic alternatives.
CoffeeCoffee & Tea & Tea for Breakfast for Breakfast CoffeeCoffee & Tea & Tea for Breakfast for Breakfast

The Print dialog box

Printing your artwork in Illustrator is very similar to using the Advanced Print Settings in FreeHand. The Print dialog lets you click through panes that provide controls over general settings, document setup, marks and bleeds, output, graphics, and color management. Click Page Setup to specify page setup options.
Use the Crop Area command to print portions of your artwork.
Each category of options in the Print dialog box in Illustratorfrom General options to Summary optionsis organized to guide you through the printing process: General Set the page size and orientation, specify how many pages to print, scale the artwork, and choose which layers to print.
34 FreeHand to Illustrator Migration Guide
Setup Crop the artwork, change the placement of artwork on the page, and specify how to print artwork that doesnt fit on a single page. Marks & Bleed Select printers marks and create a bleed. Output Create color separations or choose what plates to print. Graphics Set printing options for paths, fonts, PostScript files, gradients, meshes, and blends. Color Management Select a color profile and rendering intent for printing. Advanced Control the flattening (rasterization) of vector artwork during printing. Summary View and save a summary of print settings and warnings about possible output problems.
For more information about printing from Illustrator CS2, see the Print Resource Center at on the Adobe website (www.adobe.com/studio/print/main. html).
In the Output pane of the Print dialog box, choose to print color separations, and specify ink, screen, and film or plate settings. Toggle to print plate CMYK plate Spot Color plate Print preview

Printing 35

PRINTING

Flattening transparency

Transparent effects in artwork must be flattened before they can be printed. To see areas that need to be flattened, choose Window > Flattener Preview, and then click Refresh. To fine tune the transparency flattening settings or select another preset, choose Show Options from the palette pop-up menu. Click Refresh again to preview the results. Or, select an object and choose Object > Flatten Transparency.

Flattener Preview palette
About Transparency and the Flattener Preview
Illustrator allows you to apply very complex transparency effects such as blends and fades, soft drop shadows, and feathered edges to your graphics. Furthermore, you can change the opacity and apply Blending Modes to any object in Illustrator. Thanks to the integration between applications in the Adobe Creative Suite, you can place native transparent Photoshop (.psd) files onto your Illustrator artwork without you rasterizing your compositions first (for example, saving it as EPS or TIFF). If you are new to native transparency, note that transparency is flattened when you export a document to a file format that doesnt support native transparency from Illustrator, or when you print the document. You can preview what areas will be flattened, choose Window > Flattener Preview and click Refresh.
Tip: For more information on flattening,
see A Designers Guide to Transparency for Print Output on the Adobe website (www.adobe.com/products/ creativesuite/pdfs/dgt.pdf).

Flattening presets

Illustrator CS2 offers three flattening presetsLow, Medium, and High Resolutionin the Flattener Preview palette so that you can quickly and easily flatten artwork for common print conditions. To edit these presets or to create your own, choose Edit > Transparency Flattener Presets.
Applying transparency flattener presets 36 FreeHand to Illustrator Migration Guide
Artwork with Overprint Preview on
Artwork with Overprint Preview off

Overprint Preview

In the Illustrator Attributes palette, you can set the fills and strokes elements of your artwork to overprint when it is separated for professional printing. For soft (on-screen) color proofs of your artwork, choose View > Overprint > Preview. Overprint Preview approximates how blending, transparency, and overprinting will appear in color-separated output, which can save time and money by preventing unwanted surprises on press.
Printing overlapping tiles
In the Setup pane of the Print dialog box, you can define how pages of a large document tile on smaller pages.
If your artwork does not fit on a single printed page, you can tile it. Tiling is dividing the artboard to fit a printers available page sizes. You can choose a tiling option in the Setup section of the Print dialog box. To view the page tiling boundaries on the artboard, choose View > Show Page Tiling. The same way Illustrator allows you to print large artwork on multiple pages you can also output a large document to a multipage PDF. To create a multipage PDF, first define tiling in the Print dialog box and click Done. Choose File > Save a Copy and Adobe PDF from the format pop-up menu and then choose Create Multi-page PDF from Page Tiles in the General pane.

Once you have defined a tiling method in the Print dialog box, you can save your artwork as a tiled multipage PDF. Printing 37

Keyboard Shortcuts

Illustrator CS2 offers keyboard shortcuts to functions otherwise available in menus or palettes. You can customize your own sets of shortcuts, change individual shortcuts within a set, and switch between sets by choosing Edit > Keyboard Shortcuts. Here is a list of some of the most useful Illustrator CS2 keyboard shortcuts.
Creating objects (Hold down keys until after releasing the mouse button.)

Resultaction

Wi n dows Mac OS
Constrains objects horizontally, vertically, or proportionally. Draws objects from their centers. Opens dialog boxes with transformation tools. Turns the cursor into the Hand tool. Repositions an object while it is being drawn. Maintains star inner radius. Adds/subtracts sides, corner radius, star, points, or spiral coils. Changes the pointer to a cross hair for selected tools.
Shift Alt Alt-click Spacebar Spacebar-drag Star tool+Ctrl-drag Click-hold+Up/Down Arrow key Caps lock
Shift Option Option-click Spacebar Spacebar-drag Star tool+Cmd-drag Click-hold+Up/Down Arrow key Caps lock

Viewing objects

Fits imageable area in window. Sets magnification to 100%. Turns the cursor into the Zoom-in tool. Click or select an area to Zoom in. Turns the cursor into the Zoom-out tool. Click to Zoom out. Locks/unlocks guides.
Double-click Hand tool or Ctrl+0 Double-click Zoom tool or Ctrl+1 Ctrl+spacebar Ctrl+Alt+spacebar Ctrl+Alt+;
Double-click Hand tool or Cmd+0 Double-click Zoom tool or Cmd+1 Cmd+spacebar Cmd+Opt+spacebar Cmd+Opt+;
38 FreeHand to Illustrator Migration Guide
Selecting and moving objects (Watch the cursor to make sure youve pressed the correct keys.)
Switches to the last-used selected tool. Switches between the Direct Selection tool and the Group Selection tool. Selects whether the Direct Selection or regular Selection tool is accessed by the Ctrl key. Chooses whether an object, path, or point is selected or deselected. Click on or select around an object, path, point, or group to choose selection/deselection when using the Direct Selection or Group Selection tool. Duplicates selection when using a selection or transformation tool. Moves selection in user-defined increments. Moves selection in 10x user-defined increments. Constrains movement to a 45-degree angle (except Reflect).

Ctrl Alt Ctrl+Tab Shift-click Shift-click Alt-drag Arrow keys Shift+arrow keys Shift
Cmd Option n/a Shift-click Shift-click Option-drag Arrow keys
Transforming objects (Hold down keys until after releasing the mouse button.)
Constrains transformation proportionally, vertically, and horizontally. Leaves the original object and transforms a copy. Performs an Undo. Performs a Redo. Constrains movement to a 45-degree angle (except Reflect). Transforms pattern independent of object when using the Selection, Scale, Reflect, or Shear tool. Resizes selection proportionally when using the Free Transform or Direct Selection tool. Resizes selection from center when using the Free Transform or Direct Selection tool.
Shift Alt Ctrl+Z Shift+Ctrl+Z Shift Tilde (~)-drag Shift-drag Alt-drag
Shift Option Cmd+Z Shift+Cmd+Z Shift Tilde (~)-drag Shift-drag Option-drag

Keyboard Shortcuts 39

KEYBOARD SHORTCUTS

Painting

Switches focus between fill and stroke. Samples color from an image or intermediate color from a gradient when using the eyedropper. Samples the style and appends the appearance of the currently selected item when using the eyedropper. Tints process color. Cycles through color modes.
X Shift-click Alt+Shift-click Shift-drag color slider Shift-click color spectrum bar
X Shift-click Option+Shift-click Shift-drag color slider Shift-click color spectrum bar

Live Paint Bucket tool

Applies new paint to fill color (ignoring stroke). Applies new paint to stroke color (ignoring fill). Changes to the eyedropper, which picks up stroke and fill. Live Paint Bucket setting determines which is applied. Changes to the eyedropper, which picks up pixel value of object. Fills all adjoining areas of the same paint fill that are not separated with a painted stroke. Paints similarly painted faces/edges that arent connected.
Click Shift-click Alt Alt+Shift Double-click Triple-click
Click Shift-click Option Option+Shift Double-click Triple-click
Live Paint Selection tool
Switches to the eyedropper, which applies the current appearance to selected objects. Switches to the eyedropper, which applies the pixel value of an object, such as selection along gradient, to selected objects. Adds/subtracts from selection. Selects all adjoining areas of the same paint fill that are not separated with a painted stroke. Selects similarly painted faces/edges that arent connected.

Printed in the USA.

95006283 02/06

SVG is a royalty-free and vendor-neutral open standard developed under the W3C Process. It has strong industry support. Authors of the SVG specication include Adobe, Agfa, Apple, Canon, Corel, Ericsson, HP, IBM, Kodak, Macromedia, Microsoft, Nokia, Sharp, and Sun Microsystems. SVG viewers are deployed to over 100 million desktops, and there is a broad range of support in many authoring tools, such as Illustrator and GoLive.
As a text-based format, SVG is human-readable. Many SVG object names, attributes, and values are clearly descriptive of the corresponding image. The descriptive text makes it easy to learn. It also makes project maintenance and updates substantially easier.
The code of this SVG le looks like this:
. code deleted. <rect id=Rectangular_shape ll=#FF9900 width=85.302 height=44.092/> <ellipse id=Elliptical_shape ll=#FFFF3E cx=42.651 cy=22.046 rx=35.447 ry=16.426/> <text transform=matrix(16.2104 32.2134) font-family=MyriadRoman font-size=31.2342>SVG</text>. code deleted.
The three objects that make up this example are readily identiable. There is one rectangle <rect>, one ellipse <ellipse>, and a text <text> element. The positioning and styling properties are easily readable, and you can easily modify them with a simple text-editing application. For example, you could change the ll color of the ellipse by simply changing the color value in the ll description. SVG is certainly not limited to such simple examples. SVG content can include raster images, SVG lter eects, animation, and interactivity. For more complex graphics, the SVG designer needs to use a graphics editing tool that is suitable for vector graphics. Illustrator has supported SVG content creation since version 9; the latest release, Illustrator CS2, presents the richest features for creating SVG content. SVG is the best choice for publishing resolution-independent vector graphics to handheld devices and the web. SVG can easily be integrated into many types of applications, whether for use in a user interface or to provide interactive dynamic content. SVG is ideal for creating dynamic content because you can modify the position of the vectors, their appearance, and textual contents directly in the source code.
Illustrator supports SVG basic shapes (referred to as primitives), such as <ellipse> and <rect> as seen in the code on the left, making reading, writing, and transforming SVG objects straightforward. SVG basic shapes can also be represented as SVG <path> objects, but the syntax for describing a basic shape can be very useful for hand-coding and manipulating an objects properties via scripts.

SVG can also be used in a variety of workows that require dynamic generation of content, such as GIS, news feeds, weather and trac reports, and nancial information in which graphical information must be updated in real time. SVG is also great for representing charts and rich graphical statistical data.
Creating SVG with Illustrator CS2
Illustrator CS2 is the industry-standard vector graphics application. It has a rich set of tools that enable you to generate sophisticated graphics for multiple uses. This section focuses on the new Illustrator features and functionalities that are particularly suited to optimizing SVG output for mobile devices and the web. Before you start Although SVG is scalablemeaning that it can be resized without losing resolutionyou should work within the dimensions of the nal use if you are working with bitmap graphics to ensure that the bitmaps are optimized in quality and le size for your target device (raster images do not scale well and lose sharpness when enlarged). Working within the targeted dimensions becomes even more important if you are planning to use SVG raster eects that aect an underlying image or if your vector art has transparency eects that would cause transparency attening in SVG output. Because SVG is viewed on an RGB raster display device, such as a monitor, the Illustrator document color mode should be set to RGB. You can select the color mode either in the New Document dialog box or by choosing File > Document Color Mode. You should also make sure that the RGB color settings are dened as sRGB (select Edit > Color Settings). If you have a full version of the Creative Suite, you can dene the color settings globally for all Adobe Creative Suite 2 components from the Adobe Bridge application.
SVG adheres to a set of rules to make the document compatible. Each object, group of objects, and layer must have a distinct name or identier, which needs to be unique and written in a certain way. To enforce naming compliance as you work, you can set the Identify Objects By preference to XML ID (Preferences > Units & Display Performance). This preference gives you error messages when you do not name your objects correctly or when there are duplicates: Note: Setting this preference to XML ID does not aect work that has already been done; it is eective only for new elements. Managing graphic objects When designing for SVG output keep in mind that SVG is text-based, so having fewer graphic objects (including groups) or making it less complex (fewer points), results in a smaller SVG le.
Fewer points means lighter les The original buttery on the left is 84 KB when output to SVG. The simplied le requires only 20 KB.

When working with complex graphics, such as an illustration, simplify the artwork by reducing the number of points needed to represent it. Fewer points signicantly reduces the amount of textual information needed to describe the artwork in the SVG le. To simplify graphics in Illustrator, select Object > Path > Simplify and experiment until you nd the ideal trade-o between the graphics quality and the number of points. The SVG source code is human-readable, and it is important to use human-readable descriptions for any objects, object groups, and layers that you are adding to the document to make it easy to identify them later. As you start inserting graphics onto your art board, the elements appear in the Layers palette (Window > Layers). Double-clicking an element opens a window in which you can add a name or identier.
Naming objects and layers in the Layers palette generates useful identication attributes in the SVG output.
Assigning logical criteria to objects and layers not only helps you organize your work better but it is also essential for recognizing the objects inside the SVG source code or for adding interactivity to specic elements.
. code deleted. <g id=Buttons> <g id=Mail>. code deleted. </g> <g id=Search_World_Wide>. code deleted. </g> <g id=Tools>. code deleted. </g> <g id=Shop>. code deleted.
The objects that you create in Illustrator appear in the reverse order in the SVG source code. In Illustrator, the stacking order is from top to bottom. SVG, however, draws objects from the bottom up. Therefore, the topmost object is drawn last. Symbols If your artwork contains objects that are repeated, such as the button backgrounds in the above image, use the Illustrator Symbols feature, which denes the vectors that describe the object once, thereby not duplicating the vector information multiple times. Symbols are expanded to individual objects when outputting to the SVG Tiny subset, so each referenced symbol becomes an autonomous vector shape. SVG lter eects In addition to a variety of Adobe Photoshop and vector lters and eects, Illustrator supports SVG lter eects. Using SVG lter eects on your vector objects preserves the objects vector data and allows scalable graphic eects. For example, an SVG lter eect applied to a text object can create three-dimensional highlighting and shading while preserving the text content of the object so that it remains selectable and searchable. Unlike rasterized content, zooming in on an
Creating SVG with Adobe Illustrator CS2 4

object with an SVG lter eect or outputting the image to a high-resolution printer causes no loss in image quality. SVG lter eects are essentially instructions for dynamic client-side rendering of such common but powerful eects as Gaussian blurs and specular highlighting. Illustrator has a number of preset SVG lter eects, but its also easy to create your own eects or import denitions from other SVG les. To apply an Illustrator SVG lter eect, choose Eects > SVG Filter Eects and select one of the available lter eects. To preview the lter eect before applying it, choose Eects > SVG Filter Eects > Apply SVG Filter and select Preview.
You can edit, add, and delete SVG lter eects, using the three buttons below the list, as well as preview the eect on your target object.
To manually edit a lter eect, select Edit SVG Filter. Note: Small mobile devices might not be able to process SVG lters in real time; therefore, SVG lter eects are rasterized when outputting to SVG Tiny and SVG Basic. Also, some mobile devices might not be able to display transparency in raster images, causing some eects to not appear as desired.
Adding interactivity to SVG
You can add interactivity to objects in Illustrator in several ways. Hyperlinks and JavaScript (ECMAScript) actions can be associated with graphical elements and text. Note: Interactivity that is applied with the Attributes palette or the SVG Interactivity palette does not transfer to the SVG Tiny le format because this format does not support scripting. However, you can add interactive features using GoLive CS2, Beatware Mobile Designer, or Ikivo Animator.
The Attributes palette enables you to add hyperlinks to any object. Although image maps dont apply to SVG (the SVG object itself becomes the link), you must select an image map to enter a URL for the hyperlink.
Adding hyperlinks using the Attributes palette You can easily add hyperlinks to objects or a group of objects by selecting the desired target set and assigning the hyperlink from the Attributes palette (Window > Attributes). Hyperlinks are fully supported in both SVG Basic and SVG Tiny. Assigning a URL to an object adds the following code to the source le:

<a xlink:href=http://www.adobe.com/svg > <rect y=194 ll=#FF1A00 width=24.371 height=26/> </a>
You can add other standard HTML commands to links either directly in the SVG source le or in Illustrator. For example, to add a link that opens in a new window, you can add the following string in the URL box of the Attributes palette. Illustrator automatically adds the missing outer quotation marks: http://www.adobe.com/svg target=blank
Creating SVG with Adobe Illustrator CS2 5
Adding interactivity using the SVG Interactivity palette The SVG Interactivity palette (Window > SVG Interactivity) lets you assign JavaScript events to objects, groups, and layers. You can script behaviors for your illustration, such as animation and interactivity, that can be viewed by the end user. You can enter customized scripts for the selected object or link to an external script le. For example, you can add a simple JavaScript snippet to create an onmouseup event that opens a dialog box when an object is clicked:
window.alert('SVG Mobile!')
You can add interactivity to objects in your layout by associating JavaScript to events triggered by the end user of the SVG le.
JavaScript also allows you to script actions for showing or hiding objects or layers. For example, the following hide/show action can be very useful when designing user interfaces with rollover eects. In this case, it is important to use identiers (names) for all of your objects.
elemHide(evt, 'ID_of_object') elemShow(evt, ID_of_object)
Using the SVG Interactivity palette, you can also link any number of external script les and link any object in Illustrator with any number of JavaScripts and functions. If you plan to use the same JavaScript le for several actions, you might want to link it rather than embed it in the SVG le. This can be useful when changes need to be made globally to the JavaScript le. SVG Tiny and SVG Basic support the SVG 1.1 events listed in the Event menu. SVG Tiny, however, only allows interactivity with declarative animation, such as show and hide. Also, SVG Tiny does not support extended scripting. SVG Basic allows optional support of scripting and includes all of the language features of SVG 1.1. GoLive and Ikivo Animator oer advanced solutions when adding interactivity to SVG Tiny les, which is described later in this document.

Outputting SVG from Illustrator
Now that you have prepared the content, its time to publish it to a mobile device or the web. Understanding how Illustrator generates SVG and which SVG features are supported can greatly enhance the quality of the output and the workow process for those working directly with the SVG code. Any Illustrator le can easily be saved as an SVG le. You can save the entire illustration as an SVG le by using any of the Save commands, or you can save a sliced area of your artwork with the Save For Web command. The rst method provides the most control over specic SVG options, but the second method lets you use Illustrator as a web page layout tool, enabling you to streamline the page by selectively optimizing specic graphical areas in dierent web graphics formats (with SVG as one of the options). This document focuses on the Save commands, although the information can easily be applied to the Save For Web option. Note: Saving sliced data is incompatible with SVG mobile formats because they require the use of a single le. SVG and SVGZ le types The uncompressed SVG format is ideal if further hand-coding using a text editor will be needed.
Creating SVG with Adobe Illustrator CS2 6
SVGZ is a compressed gzipped version of the SVG le. Compression reduces the le by up to 80%, depending on the content. Text can usually be heavily compressed, but binary-encoded content, such as embedded rasters (such as JPEG, PNG, or GIF les) cannot be compressed signicantly. SVGZ les can be uncompressed by any application that expands gzipped les. When designing for mobile workows, be sure that the intended device can decompress gzipped les if you are saving to SVGZ. After you have selected your le type and named your le, the SVG Options dialog box appears.
Illustrator CS2 features a complete set of options for outputting SVG to mobile devices and the web using the latest W3C standards. After you have selected your options, you can preview the le in source mode or preview mode.
In the SVG Options dialog box, choose the DTD (Document Type Description) to associate with your SVG le. In addition to the SVG 1.0 le format, you can choose one of the following updated formats: SVG 1.1Ideal for content intended to be viewed on the web. The features and syntax are compatible with SVG 1.1. SVG Tiny 1.1Suitable for mobile phones. The features and syntax are compatible with SVG Tiny 1.1. SVG Tiny 1.1+Suitable for mobile phones. It contains additional support for ll opacity (transparency), store opacity, and gradient. The features and syntax are compatible with SVG Tiny 1.1. SVG Basic 1.1Suitable for handheld devices. The features and syntax are compatible with SVG Basic 1.1. Fonts Embedding fonts makes your SVG le slightly heavier, because additional text is needed inside the le to describe them. Each mobile phone platform has its own set of fonts, so there is no guarantee that your SVG output will look the same on dierent platforms. If fonts are crucial in your design, research the target platform as much as possible or consider creating outlines of the words. Adobe CEF (only compatible with SVG 1.0 and 1.1)Produces the best visual delity for displaying text. The Adobe SVG Viewer can display text using this format, however, not all viewers support it. SVGThe standard W3C SVG font format. It is supported by all viewers, but does not produce the best visual delity for small text due to the lack of hinting (or automatic kerning which, depending on the actual size of the font, increases or reduces the space between single characters; small type requires more letterspace).

Creating SVG with Adobe Illustrator CS2 7
Convert to outlineConverts all text to outlined paths. The visual delity of small text might not be accurately preserved, which can make the text look bolder than originally intended. SVG Basic supports downloadable fonts using the WebFonts facility dened in the CSS level 2 specication. In SVG Tiny, an SVG font can only be embedded within the same document that uses the font. You can choose from the following font subsetting options: None (Use System Fonts)Provides the smallest possible SVG les because no font information is included, except for the name of the font. This option relies on the fonts being installed on the output device. If the font is not found, substitution occurs, which might have unexpected results. Only Glyphs UsedCreates a subset of the font based on the characters that are used in the artwork. This option is not available for linked fonts. Do not use this option if the content of your SVG le is dynamic and the text might change. Common EnglishIncludes a set of English font characters. This is useful when the textual content of the SVG le might change. Do not use this option if the SVG le is intended for an international audience. Common English & Glyphs UsedCombines the information of the Only Glyphs Used and Common English options. Common RomanIncludes a set of Roman-letter font characters and accented letters. It is useful if the SVG le contains text that might change. Common Roman & Glyphs UsedIncludes the Roman-letter font subset and the glyphs used in the le. All GlyphsIncludes the full set of English and Roman-letter font characters and is the most complete font inclusion you can have in SVG. This option provides the most exibility if portions of the text need to be edited in the SVG le using its text-based format. Images Vector graphics are very powerful for creating complex illustrations, but sometimes it might be necessary to include bitmaps, such as photographic images, in your project. Using Illustrator, you can link or incorporate raster formats like JPEG, PNG, or GIF into your artwork. You can choose from the following options: Embed the image directly into your document. This slightly increases the le size, but ensures that the images are always included with the le. Link documents to images exported from the original Illustrator le. This is useful when you are using multiple SVG les that share common raster elements. Images are saved as JPEG (alpha channel is not supported) or PNG (supports alpha channel). Linking les can also help you create a cleaner SVG le that does not contain long strings of binary code denitions of the raster content. Preserve Illustrator Editing Capabilities This option preserves Illustrator editing capabilities for future revisions. This can be useful if your le contains locked layers and objects or Illustrator guides, or if you need to preserve swatch preferences, layer color coding, and other features linked to the Illustrator environment. It produces much larger les than simple SVG les because they contain both Illustrator and SVG code. This option is not recommended if you are creating SVG output for mobile devices. This option aects the way Illustrator opens the SVG le on further edits: it ignores any changes you might have made to the portions of the SVG le. Note: Illustrator CS2 does not preserve the editing capabilities by default as it did in earlier versions. If you need to keep Illustrator-specic information in your le, you must select this option. CSS Properties CSS Properties determines whether attributes are placed within the CSS code. Illustrator supports all of the SVG methods of applying style properties. How you choose to save the illustration aects how easy it will be to script the SVG le. You can choose from the following options:

Show SVG Code This button shows the code of the SVG le as it would output with the current Save options. Show SVG Code lets you check how simple or complex the le will be when reopened in a text editor for editing. Preview This button opens your browser to preview how the SVG le looks when viewed in a browser. You can use it to check whether URLs or actions function properly before saving the le.
Reopening SVG les in Illustrator
At times it might be necessary to edit SVG les using Illustrator. Because the Illustrator and SVG DOMs are very dierent, data used to get lost with earlier versions of Illustrator. For example, personalized scripts got lost during conversion, causing designers and developers to reenter the code for interactivity and animation. In Illustrator CS2, a great deal of attention has been put on round-tripping SVG les to and out of Illustrator to retain the interactivity and animation code. Namespaces, identiers, metadata, and elements that are not SVG are now preserved. Basic SVG elements, such as <ellipse> or <rect>, remain such when saved back to SVG. Embedded JavaScript for animation or interactivity is handled as part of the Illustrator le and is preserved when the le is saved back to SVG. Viewboxes are preserved. Object transformations, such as Rotation, Sheering, and Scaling, are preserved where possible. Because new options reduce <tspan> elements and enable <textPath>, it is now easier to produce SVG that will need further editing. These options might not preserve visual delity, but they output text in a form that makes more sense if the SVG needs editing or animation.
Publishing SVG content using GoLive CS2
In addition to viewing source code and tracking hyperlinks in SVG les, GoLive oers signicant new tools for working with SVG mobile les. You can open SVG Tiny les and edit them in the Layout, Source, or Outline editor. In Layout mode, you can add actions to the SVG le, which is much more dicult to do in Illustrator.
Although SVG can be viewed by itself, most of the time it must be included in some sort of a container, such as SMIL. Adobe actively participates in other W3C working groups, such as the one on Compound Document Formats (CDF), which is the W3C standard for documents that combine multiple formats, such as XHTML, SVG, SMIL, and XForms. The W3C CDF Working Group is dening the behavior of some format combinations, addressing the needs for an extensible and interoperable web. You can open SVG Tiny les in GoLive to preview content and edit the interactivity of single objects.
To add interactivity to any object in your SVG le, select it and add actions from the Inspector palette. The events that are available by default are: On Load, On Click, Mouse Down, Mouse Move, Mouse Over, and Mouse Up. Developers can extend GoLive events by using the GoLive Software Development Kit (SDK) to include extensions for handheld devices, such as On Tap for touch-sensitive devices. To create a new action, click Create New Item and change the attributes of any object, which can be selected by clicking on the shape preview square and dragging a line

Creating SVG with Adobe Illustrator CS2 10
with the pointer to the element that you want to modify in the preview pane. Once the object is correctly linked and its ID appears next to the Shape icon in the actions Inspector, you can begin dening the event, using the following options:
GoLive CS2 oers tools for adding basic interactivity to SVG objects when working in Preview mode. For more advanced interactivity, developers can use the SDK.
Scale ShapeYou can modify the scale of the object by resizing it along the x and y axis, oset it from its current position, and assign a duration for the action. Set AttributeYou can give the attribute a name and value. Set ColorYou can modify the stroke and ll attributes of the vector object, which is useful when creating rollover eects, such as changing the color of a button as the user passes the cursor over it. In the Source editor, you can manually change code. You can save the modied le back into its original format. Improved mobile features GoLive CS2 oers a host of new features for publishing content on mobile devices. You can directly create pages, cascading stylesheets, and multimedia documents, such as blank XHTML Basic and MP, i-mode EU, i-mode Japanese pages, WML Decks, and MMS documents. You must incorporate the SVG Tiny le inside a SMIL container to achieve complex interactivity, which is needed, for example, in user interface systems and new generation mobile services.
MMS Enables the transmission of graphics, video clips, sound les, and short text messages over wireless networks using the Wireless Application Protocol (WAP). You can easily create MMS containers in GoLive CS2.
SMIL is used to create rich media and multimedia presentations, which can integrate streaming audio and video with images, text, and any other media type. GoLive oers a set of new tools for creating timelined MMS content that can incorporate SVG Tiny les inside a SMIL container.
Creating SVG with Adobe Illustrator CS2 11
The following shows you how to create an MMS document for mobile messaging using an SVG le created in Illustrator. MMS containers can include sound, image, and other rich media, such as SVG Tiny, 3GPP, and 3GPP movies. To create a new MMS document, open an untitled SMIL document. The Layout window includes three main areas: The slide area lets you insert text and preview your slides. The timeline area lets you add other slides and media. The preview area displays the device selected as the Recipients Device in the Main Toolbar, which you can use to check the appearance on the output device. You can set the duration of a slide by moving it along the horizontal axis. In the Tools palette, select the SVG Tiny object in the Draggable SMIL Objects section and drag it onto the timeline in the image area and use the Inspector palette to link it to the source le, just as you would with an image le. You will then be able to add other media, such as movie clips, text, and sound, to the slide or to other slides that need to be added to the timeline.

Animating SVG content for mobile devices
To animate SVG Tiny content, we will use Ikivo Animator, a third-party application that integrates seamlessly with Adobe Creative Suite 2 and is based on the Mobile SVG standard. In this document, we are using Microsoft Windows but the same functions are available for Mac OS. Ikivo Animator has all the necessary features to animate two-dimensional vector content.
1. Displays the frame of the animation that is selected in the timeline. 2. Lets you browse for SVG content, which you can then drag to the stage window. You can also launch an external editor to create new static content. 3. The timeline uses a time-interval interface in which animations are at exactly 10 frames per second. This area also displays a tree view for navigating to objects and animation attributes. 4. You can use dierent color models as well as customized swatches to modify the ll and stroke of objects selected in the stage or timeline area. 5. Lets you enter numerical values for position, rotation, and scale.
Before you begin Before creating an animation, here are a few things to consider about an animated workow. Ikivo Animator uses the SVG Tiny subset, which requires small le sizes for faster and standardized access by mobile devices. See the section Outputting SVG from Illustrator on what the SVG Tiny le format supports. Economize on animations and objects, and reuse objects whenever possible to reduce le size. Apply animations to groups of objects instead of to individual objects to avoid code repetition. In the following example, we will animate a series of SVG Tiny les created with Illustrator.
Creating a new Animator document We will start by creating a new animator document that proles a Sony Ericsson K700i mobile phone. Because SVG is scalable, the resulting animation can be resized to other device resolutions without losing its sharpness. If you are using bitmap graphics such as photographs, you should work within the targeted dimensions (176 x 220 pixels in this example) to ensure that the bitmaps are optimized in both graphic quality and le size for the device. Inserting SVG content onto the stage The Object Browser is more than a le browser. You can edit, create, and delete static content as well as preview SVG artwork for animation. All the elements that are present in the source folder are already in the SVG Tiny le format. If the les are not SVG Tiny compliant, Ikivo Animator makes them compliant when they are imported. In our example, we have a le named interface.svg, which is the background for our objects. When you drag and drop the le into the stage window, all the buttons and elements are added in sequence. You can change the stacking order of the elements in the treeline view of the Timeline window. You can also rename or remove the elements. Animating the attributes You can animate the visibility, stroke and ll color, position, rotation, and scale. In this example, we have placed the object Circle into the Stage window. It then appears in the timeline, where we can change the timing or add a new keyframe; we can then either change the timing of its appearance in the animation or add a new keyframe (here, a new keyframe was added at 4 seconds). We can then move the object on the stage to record the movement from second 0 to 4. At rst the line is straight, but you can easily add anchor points from the contextual menu that appears when you right-click on the curve (Control+click on Mac OS). Very much like Illustrator, you can give the curve the exact shape you need. By moving the cursor over the timeline, you can preview the movement in real time.

As in Illustrator, you can edit the paths by moving points or handles to ne-tune the movement of the SVG object.
To animate the ll color of the circle, move back to the starting point of the timeline and select the object. You can assign the object another color in the Color palette. SVG Tiny does not support transparency but, in our case, we want to give the illusion of the circle fading from the white background into red. To nish the animation, we need to change the scale of the object from its starting point to give the illusion of it growing to its nal size. Note: Unlike a video or SWF format animation, SVG is time-based and not frame-based. The advantage to being time-based is that animations play more accurately at the times and durations specied, and performance scales according to the platform.
Creating SVG with Adobe Illustrator CS2 13
Ikivo Animator-generated content is viable for mobile use but, depending on the targeted service, you might have to embed the content in XHTML or SMIL (MMS). Use GoLive CS to publish your animation with these and other standards. Hyperlinking You can add hyperlinks by selecting objects, and then choosing Object > Add Hyperlink. The full address must be given for the hyperlink to work correctly, for example, http://www.adobe.com. The user can click on the button to navigate to the desired page. Previewing You can preview how the animation will be seen in your chosen device by selecting View > Preview.
ADDITIONAL RESOURCES AND FURTHER READING Adobe Systems, Inc. www.adobe.com/svg www.adobe.com/illustrator www.adobe.com/golive World Wide Web Consortium: SVG Specication and News www.w3.org/Graphics/SVG www.w3.org/TR/SVGMobile www.svg.org Open Mobile Alliance www.openmobilealliance.org 3rd Generation Partnership Project www.3gpp.org
You can preview how your animation will perform at the resolution of any given device.

Viewing and using SVG

Because SVG is an open standard, many dierent SVG viewers are available. These can be thought of as SVG-only browsers, in the same way as older browsers were HTMLonly browsers. These SVG viewers include an XML parser; a CSS parser; a CSS cascading, specicity, and inheritance engine; and an SVG rendering engine to draw the graphics. In addition to on-screen display, some might also oer print capabilities. SVG-enabled phones are steadily becoming more important. The following manufacturers provide phones that are fully equipped with a compliant SVG Tiny 1.1 implementation: Motorola, NEC, Nokia, Panasonic, Sagem, Sanyo, Sharp, Siemens, and Sony Ericsson. An increasing number of viewers for SVG Tiny and SVG Basic proles are becoming available. The supported platforms include PalmOS, Pocket PC, BlackBerry RIM, Symbian, and others. The recommendations by the W3C and 3GPP for SVG indicate that the specications are stable and contribute to web interoperability. For a full list of mobile viewers, go to www.w3.org/Graphics/SVG/SVG-Implementations. htm. Adobe SVG Viewer The Adobe SVG Viewer integrates with your web browser as a plug-in. The Adobe SVG Viewer lets you pan and zoom across SVG les. You can also interact with the SVG image by pressing the Control key and clicking in the SVG image area. In the contextual menu, you can set the display quality, control animations, search, copy, view, or save the source code.

Adobe Systems Incorporated 345 Park Avenue, San Jose, CA 95110-2704 USA www.adobe.com Adobe, the Adobe logo, Illustrator, GoLive and Photoshop are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. HP is a registered trademark of Hewlett-Packard Company. IBM is a trademark of International Business Machines Corporation in the United States and/or other countries. Apple, Mac and Macintosh are trademarks of Apple Computer, Inc., registered in the United States and other countries. Microsoft and Windows are either registered trademarks or trademarks of Microsoft Corporation in the United States and/or other countries. Sun Microsystems is a trademark or registered trademark of Sun Microsystems, Inc. in the United States and other countries. SVG is a trademark of the World Wide Web Consortium; marks of the W3C are registered and held by its host institutions MIT, INRIA and Keio. All other trademarks are the property of their respective owners. 2005 Adobe Systems Incorporated. All rights reserved. Printed in the USA. 1/05