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Print Housecleaning: Stirring Up the Digital Divide

 

Office cleaning

The turn of a new year is always time for some housecleaning here at ImageSmith. And, as usual, amid the dust, paperwork and clutter that accumulates in any production environment we always find a few surprising reminders of how quickly and drastically times have changed.

The print and marketing world found itself on the cutting edge of change very early in the desktop computer revolution of the 70s and 80s. As prepress and print digitized – altering the methods of how print had been produced for centuries – the ensuing communications revolution altered the very core processes of how businesses function and market themselves. The speed of that change, in hindsight, is truly astounding.

Zip Disks stored digital print jobsZip Disks: remember these? From the iOmega company in 1994, Zip disks were a removable, read and write storage device – the successor to the floppy and the short-lived Syquest disk – that held 100MB of data. Print jobs were still in the process of becoming all digital (no longer relying on physical photography, paste-up, or typesetting for plate-making), and the resulting were increasing rapidly as computer graphics software grew more sophisticated. Floppies were no longer big enough to hold even one job. You needed an external (or for a time, built in) Zip disk and drive. iOmega was proud to tout the drag-and-drop storage capability: “Share large files with co-workers, friends and clients” and “Consolidate 70 floppies onto a single Zip disk.” Before CDs, DVDs, zip drives and cloud storage, we gladly adopted the Zip disk as a storage device, and it was common for customers to bring in their work on a Zip disk. (Just remember, they wanted it back.) They also fit neatly into a CD holder.

Dynamic Graphics magazine and CDs, circa 2000Before online subscription services and Google searches could bring you almost any image or artwork imaginable, Dynamic Graphics brought art departments out of the days of clunky clip art to a more modern world of increasingly sophisticated digital graphics and stock photography. In the 90s, that process happened through the US mail – with a monthly CD of artwork, and a printed catalog/index that showed you what the CD contained. Without an online search function, how else were you going to find the right photo to use on your ad layout? Flip through the monthly magazines searching for your keyword – think manual, and time-consuming, Google search. The photo to the right is of the January 2000 cover from Dynamic Graphics publication Concepts & Designs. 2000 doesn’t seem that long ago but the dated layout and imagery in this cover design reveal how quickly styles and the times have changed.

Finally, we found our company Christmas card from 1996. No digital version existed – it was tossed out in the great floppy disk purge of a few years ago or possibly during this year’s Zip disk purge. But one lonely print copy remained. Santa at his Mac (the Power Macintosh 8500) is checking our old America Online email address under the heading “High Tech Solutions.”  For the inside of the card, we used PhotoShop (version 4.0 had just come out) to impose our Christmas card message onto Asheville illustrator and artist Orrin Lundgren’s original elves-on-the-press artwork – a very high-tech maneuver for us at the time.ImageSmith christmas card, circa 1996

Can’t help but wonder how quickly and how far out of date our email, mobile app and online communications will appear after the next fifteen years. Back to housecleaning.

 

Here’s a link to some helpful tips on how to properly dispose of old computer equipment and other e-waste from the National Resources Defense Council. If you live in our local Asheville area, here is a link to Asheville Greenworks schedule for Hard-to-Recycle events in 2016.

 

Call us at 828.684.4512 for any marketing needs. As a printer, we understand communication and design. Your printer should be able to provide you with the latest information, inspiration, technical advice, and innovative ideas for communicating your message through print, design and typography, signage, apparel, variable data printing and direct mail, integrated marketing and environmentally responsible printing. If they can’t, you have the wrong printer! The best advice, always, is to ASK YOUR PRINTER!

ImageSmith is now partnered with Extreme Awards & Personalization – our in-house partner providing custom engraved trophies and awards for employee recognition programs, sporting events, and promotional needs. With our new sister company, we will be sharing space, resources and expertise in a collaboration designed to further provide you with one place to meet all of your marketing needs… Under One Roof! Visit them online at www.extremeae.com or call direct at 828.684.4538.

 

 

Call us at 828.684.4512. ImageSmith is a full-service print and marketing provider located in Arden, North Carolina. Contact us at ImageSmith for quotes on all your print and marketing projects, and more useful tips on how to create custom, effective, high impact marketing solutions.
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Quick InDesign Tip: Discover the Story Editor

 

InDesign Story Editor

Many InDesign users may primarily work on image heavy, single page documents such as flyers, office stationary, business cards, posters or ads. But if you have ever found yourself in charge of laying out significant amounts of text for projects such as annual reports, directories, or even your great American novel, the often-overlooked Story Editor in InDesign can be your best friend.

 

Toolbox for PageMaker 4.0, before Adobe Systems purchase
The Aldus PageMaker 4.0 Toolbox

Like most every feature in an Adobe product, you will discover layers of functionality the deeper you decide to explore. This article intends to just open the door on a feature that is a little bit hidden. Back in the days of PageMaker, the InDesign predecessor originally produced by a company named Aldus, manipulation of text was the heart and soul of the program. Tools to import and arrange graphics and photos were essential and expanding with every upgrade, but PageMaker’s “reason to be” was styling and control of text and the Story Editor was it’s powerhouse. Whenever you work with large amounts of text, it still is today.

Artwork from PageMaker Story Editor

The most basic function of the Story Editor is to allow you to see overset text that fills up a text frame or page without having to go ahead and flow the rest of your text onto new pages or off on the pasteboard area. Click within a block of text and hit Command+Y (Ctrl+Y) or Edit > Edit in Story Editor to open up your text in its own window. Think of it like a “word processor” view of the entire placed text, scrollable even for hundreds of pages in one long view. (The original Aldus software manual described the Story Editor as “PageMaker’s word processor.”) This view of your text does not show line breaks, styling (other than basic bold, italic, underlined), or other design/layout attributes – what you get is the raw complete text where you can write, edit, correct, search and manipulate without the distractions of the layout. (If you are familiar with WordPress, the Story Editor is similar to the Text or HTML view rather than the Visual tab.)

From this window you can work on large amounts of text flow in a multi-page document. If you are still writing your content, or just searching out edits and corrections, this view gives you the control to write and edit without turning pages, screen redraws, or design distractions. If you ever find yourself confused as to why a portion of text is not “acting” as expected, check the Story Editor to see any hidden text variable or markers such as Drop Caps, Index Markers or Hyperlinks. Often you can delete or edit these here much easier than in the normal layout view. Even if you are just working on text that is difficult to see on screen due to size, rotation or special effects, a quick Command+Y will let you see and edit the text in a straightforward window and the changes will update live in both displays. The Story Editor is also the place to manage more advanced tricks like footnotes, XML or tagged text, and conditional text.

Open your Story Editor just to get a feel for how it can benefit you in your own style of working with InDesign.

Story Editor Preferences Pane
Set the font and appearance for your Story Editor view

Be aware that each independent text block or series of linked blocks will open its own Story Editor window – there is not one single Story Editor for an entire Indesign document. Also know that you can customize the look and display of your editor from the InDesign Preferences/Story Editor Display window. Take a few moments to explore the Story Editor and save yourself a lot of time, clicks and frustration on future design jobs.

 

 

Call us at 828.684.4512 for any marketing needs. As a printer, we understand communication and design. Your printer should be able to provide you with the latest information, inspiration, technical advice, and innovative ideas for communicating your message through print, design and typography, signage, apparel, variable data printing and direct mail, integrated marketing and environmentally responsible printing. If they can’t, you have the wrong printer! The best advice, always, is to ASK YOUR PRINTER!

ImageSmith is now partnered with Extreme Awards & Engraving – our in-house partner providing custom engraved trophies and awards for employee recognition programs, sporting events, and promotional needs. With our new sister company, we will be sharing space, resources and expertise in a collaboration designed to further provide you with one place to meet all of your marketing needs… Under One Roof! Visit them online at www.extremeae.com or call direct at 828.684.4538.

 

 

Call us at 828.684.4512. ImageSmith is a full-service print and marketing provider located in Arden, North Carolina. Contact us at ImageSmith for quotes on all your print and marketing projects, and more useful tips on how to create custom, effective, high impact marketing solutions.
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Kuler is now Color! Plus, the New Color Theme Tool in Adobe InDesign CC 2014

 

InDesign-AdobeColor1

InDesign Color Themes Tool in ToolbarThe latest update for Adobe InDesign CC 2014 gives you a great new tool for creating a beautiful matching color palette based on the images and artwork already in your layout. The Color Theme tool will create for you 5 different 5-swatch palettes or themes of color with a simple click based on the objects you have selected on your page, which you can then add to your swatches palette or export to Adobe Color (formerly Kuler – will get to that in a moment) for use in other applications and on other devices.

InDesign-ColorThemesIf you have a photograph placed on your page, select the new tool then click the photo. The Color Theme tool will select a range or palette of colors based on that image. It will also work on a vector object, shape or a selected area of your layout including several different objects. A main 5-swatch color theme shows up automatically. By clicking on the down arrow you will see four additional “themes”: Colorful, Bright, Dark and Muted. These will give you variations of the basic theme from which to choose.

InDesign-OutputIntentA button to the right allows you to add any or all of the themes to your Swatches palette. Option clicking that button will allow you to add just an individual color. The colors are by default defined according to your “document intent.” If you hadn’t noticed, whenever you create a new InDesign document, there is a drop-down menu called Intent where you choose if your creation is heading for the Print world, for the Web or for Digital Publishing (e-Pubs). By double clicking the actual Color Theme tool in the toolbar, you can choose to leave your colors “defined as per document intent” or go ahead and decide for yourself to have the colors rendered as CMYK or RGB. In the prepress department here, we were hoping the tool would include the magic of matching the closest PMS color to the selected sample, but no such luck…..yet.

InDesignColorThemes-PalettesNow here’s another new feature. Adobe Kuler is now Adobe Color. You can access your Creative Cloud Color account directly in InDesign by going to Window – Color – Adobe Color Themes. In the panel that opens, you can access all your previously defined Kuler… er, Color themes, explore the themes of others just as you did with the mobile app or online, or create new ones from scratch. Any themes you create in PhotoShop or Illustrator are also here to share. Adobe has integrated the favorite advancements of its former Kuler app directly into the Creative Cloud applications in a very seamless, easy to use way.

InDesign-WhatsNewYou can watch a couple of very brief overviews of these new features from Adobe by going to Help – What’s New… These new features are very intuitive and a great tool for your color inspiration. The integration of Adobe Color directly into the Creative Cloud apps is very handy and will be welcomed by the Kuler/Color community, though I’m already finding it difficult to stop calling it Kuler.

 

Strive to buy your print locally! A community printer will understand communication and design, with a special emphasis on your local market. They should be able to provide you with the latest information, inspiration, technical advice, and innovative ideas for communicating your message through print, design and typography, signage, apparel, variable data printing and direct mail, integrated marketing and environmentally responsible printing. If they can’t, you have the wrong printer! The best advice, always, is to ASK YOUR PRINTER!

Call us at 828.684.4512. ImageSmith is a full-service print and marketing provider located in Arden, North Carolina. Contact us at ImageSmith for quotes on all your print and marketing projects, and more useful tips on how to create custom, effective, high impact marketing solutions.
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Hard to Hide: Disabling an Overactive Welcome Screen in Illustrator CC 2014

Illustrator CC 2014 Welcome Screen

 

When the Welcome gets worn out…

With each new software upgrade, organizing your workspace and learning the new tools and interface changes can take a little time. Creative Cloud software generally launches by default a Welcome screen with helpful info on “What’s New” in the latest release. For the first few days, these are helpful; after that they begin to feel intrusive. With Illustrator CC 2014, the “Welcome” screen is pretty persistent in trying to keep on welcoming. The fix is a simple one – albeit not as simple as it could be!

InDesign Welcome screenIn previous version of Illustrator, the Welcome screen appeared with each launch, but the checkbox to hide the screen on future launches was always located at the bottom in plain view. With InDesign CC 2014, it is still there and easy to access. With PhotoShop CC 2014, there is no “Welcome” screen – it just lives under the Help menu and will take you to an Adobe webpage when chosen. But Illustrator expanded the Welcome screen for CC 2014, putting in four tabs to access different information. I wonder if Adobe is pushing a little harder to introduce PhotoShop and InDesign users to Illustrator?  The expanded screen can be useful, but it seems Adobe went a little further in trying to make you work to hide it.

Illustrator CC 2014 Welcome ScreenThe “Create” tab, which is the default screen on my installation and includes the easy access to open recent docs or new projects, does not include the box to hide the Welcome screen. I have no idea why. For some reason, only three of the four Welcome screen tabs have the check-able option to hide the window in the future. And, even on those three tabs, the bottom of the window is not visible until you scroll down to find the check box.

The Welcome screen info always lives under the Help menu, so if you find it annoying like I do, just click on any of the three tabs other than “Create” and scroll to the bottom of the window. There you can access the SLIGHTLY more elusive than normal “Don’t Show Welcome Screen Again” box.

How to hide the welcome screen in Illustrator

 

 

 

Strive to buy your print locally! A community printer will understand communication and design, with a special emphasis on your local market. They should be able to provide you with the latest information, inspiration, technical advice, and innovative ideas for communicating your message through print, design and typography, signage, apparel, variable data printing and direct mail, integrated marketing and environmentally responsible printing. If they can’t, you have the wrong printer! The best advice, always, is to ASK YOUR PRINTER!

Call us at 828.684.4512. ImageSmith is a full-service print and marketing provider located in Arden, North Carolina. Contact us at ImageSmith for quotes on all your print and marketing projects, and more useful tips on how to create custom, effective, high impact marketing solutions.
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Designing Product Labels: Stick a Label on a Bottle with Illustrator and PhotoShop

 

Creating a wine label in Illustrator and Photoshop

OUR PROJECT: design a label and show it in use on the actual product. We need to create print-ready label files AND on-product demos for proofing those labels – a very common scenario for the designer. Moreover, our goal is also to end up with a usable set of files that are organized, fully editable and ready to be repurposed for any integrated marketing projects that lie ahead. What is the best approach for digitally sticking a label on a bottle?

We love Illustrator.  The ability of vector artwork to be edited, printed in spot colors, redefined for other purposes and resized to any dimension without loss of resolution or quality makes it a versatile winner for multipurpose projects. On the other hand, PhotoShop is essential for realistic product presentation. Amazing effects can take a vector label file from the design stage to a true retail appearance and on-product photo. Using both programs in a coordinated way will leave you with a flexible set of files that can be used for offset or digital printing, wide format product displays, realistic proofing and any other application you might need. When you return to prepare other labels, these files are invaluable time-savers.

The label design for this whiskey bottle began in Illustrator. The customer’s requirements were a matte finish paper with a die cut shape. The handiest solution was to create the label in Illustrator, then manipulate that file into PhotoShop for the proofing and on-product look. Here, all of the type and design elements were created as vectors in Illustrator, and assigned the PMS spot colors that would be needed for offset printing. This part of the job is essentially a typical design/print job.

Creating a wine label in IllustratorWhile working in Illustrator, it helps to be able to see your design on the actual bottle as you work. So, we placed the .tif image of the bottle on its own layer and locked it. An image of the paper was placed on another layer – just for reference – along with the outer shape of the label. We then made a clipping path of that shape on the paper layer so that with all layers turned on, the Illustrator file appeared like the finished label on the bottle – minus the PhotoShop effects. These two layers are not for print purposes – only to help you visualize the end product while designing. Play around with the design of the label until finished, turning off the “bottle” and “paper” layers as needed. From this file, we can generate any actual print files for production of the label.

Now – over in PhotoShop: we wanted to show the label on an actual bottle, both for proofing to the customer and to create imagery for use in several related projects (no special photoshoot necessary!) We start with the photo of the bottle itself. This image is much larger in size than the actual bottle, being a high resolution image suitable for wide format output. If you have worked in Illustrator at the actual label size, you will need to enlarge the vector design when you bring it into PhotoShop – no problem as vectors can be easily resized with no loss of quality. Copy the parts you want to use in Illustrator and paste into their new PhotoShop layers as Smart Objects. By working with Smart Objects in this way, you can double-click on your layer and the artwork will open in the native application (in this case, Illustrator) for editing. When done, click save and the art updates in your PhotoShop file. Learn more about how great Smart Objects are for design versatility here.

Tip: be sure and carefully name each layer you create. I often think I will remember which is which, only to wind up confused and searching through layers one by one to see what I have created. You can easily use dozens of layers in one simple project, so take the time to name them as you create them.

For certain effects to work in PhotoShop, you must rasterize the Smart Object layer before you can proceed. If you are unsure and want to do that safely, make a copy of your Smart Object layer and turn its visibility off – that’s your backup. Now rasterize the original layer and proceed. You can always trash that if the results aren’t right and turn back on the layer you saved. Here, we brought in vector pieces of the label in different groupings so as to be able to apply various lighting effects and filters on different parts, hopefully recreating the appearance of a realistic label. You can experiment with various layers to find which works best for your project. In this case, all the ink coverage (the red bar, the type, the logos) were kept together in order to use a light reflection effect on them that would simulate the ink on paper. Using Photoshop to create Wine LabelThe outer border required a different look, as it was set to print in metallic ink. We brought in a layer that looked like gold foil and a layer which held the label frame as a Smart Object. First we selected the pixels on the frame layer and turned its visibility off, switched over to the foil layer, selected the inverse and deleted. What was left is the shape of the frame, but filled with the reflective foil (see photo at right). As this is not a Smart Object layer, you can go ahead and apply bevel and emboss effects to make it stand out a little more from the rest of the matte label.

Save this heavily layered version of your project – it allows you to easily edit individual parts during proofing or for future applications. You could easily switch out the paper layer, substitute a silver background, entirely redesign the label, or even insert a new bottle and background. By starting off on the right foot, you can confidently edit and repurpose your designs with a minimum of wasted or repeated effort.

 

 

Strive to buy your print locally! A community printer will understand communication and design, with a special emphasis on your local market. They should be able to provide you with the latest information, inspiration, technical advice, and innovative ideas for communicating your message through print, design and typography, signage, apparel, variable data printing and direct mail, integrated marketing and environmentally responsible printing. If they can’t, you have the wrong printer! The best advice, always, is to ASK YOUR PRINTER!

Call us at 828.684.4512. ImageSmith is a full-service print and marketing provider located in Arden, North Carolina. Contact us at ImageSmith for quotes on all your print and marketing projects, and more useful tips on how to create custom, effective, high impact marketing solutions.
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Auto Generate QR Codes with Data Merge in InDesign CC 2014

 

Generate QR Codes in InDesign Data Merge

The Data Merge function in InDesign is a powerful, versatile tool for integrated marketing. We use it for variable data printing to personalize individual pieces – text and images – and, if a direct mail piece, to address and barcode for delivery to the USPS. The latest enhancement to Data Merge is the ability to integrate automatically generated QR codes into the Data Merge workflow. The best part is InDesign does almost all the work.

As you may know, InDesign CC will automatically generate a QR code within a document.5 types of InDesign QR codes Choose Object – Generate QR Code. From the Content tab, you can choose which of 5 main classes of QR code information you want to create: Text, Website, Text Message, Email or Business Card/Contact Information. The Color tab will let you change the QR code from standard Black to one of your other Swatch colors. When you click OK, the code loads onto your cursor for placement (or if you already selected a placeholder box, it places itself on the page). It can be resized to any dimension needed and is a high fidelity graphic object – in other words, it behaves just like a vector piece of artwork.

To automatically generated MULTIPLE QR codes through a Data Merge, the key lies in correctly entering the data in your Data Source .csv or .txt file. You will need to create a column (in Excel for example) and – this is the important part – name the column beginning with a hashtag (for example, “#QRcodes“). Within that column you can mix and match any of the 5 types of codes, but the data entries must be in the following formats:

  • For plain text: simple, just enter the text you want to be encoded.
  • For an SMS Text Message: SMSTO:<Phone number>:<Message>  Example: SMSTO:8285551919:Call me!
  • For a Website Hyperlink: URL:<url>  Example: URL:http://www.imagesmith.com
  • For and Email Message: MATMSG:\nTo:<email address>\nSUB:<subject>;\nBODY:;;<body of email>  Example: MATMSG:\nTo:[email protected]\nSUB:Your Subject;\nBODY:;;bodyofemail
  • For Contact or Business Card Info: BEGIN:VCARD\nVERSION:2.1\nN:<last name>;<first name>\nFN:<full name>\nORG:<your workplace>\nTITLE:<job title>\nTEL;CELL:<cell number>\nTEL;WORK;VOICE:<voice number>\nADR;WORK:;;<address>;<city>;<state>;<zip>;<country>\nEMAIL;WORK;INTERNET:<email address>\nURL:<website url>\nEND:VCARD

Data Merge Panel in InDesignBack in InDesign, choose Select Data Source on the Data Merge panel options and then link the .txt or .csv file you created to this document. Draw a box as the placeholder for where you want the QR codes to print on your page. Now link that placeholder to the data by selecting it and then clicking the “qrcodes” field title in the Data Merge panel (the hashtag you put on that column in Excel will not show up in InDesign, but it does allow InDesign to recognize that data as QR code information). Your placeholder will then have a dashed border selection line around it, signifying it will create QR codes when merged.

Finally, merge your document either by choosing “Create Merged Document” (which will give you a multi-page InDesign document) or “Export to PDF” (which creates the finished multi-page PDF file). If your InDesign document is a 2-pager and you have an .txt or .csv file of 100 entries linked, you will create a 200 page PDF file.

One snag: I cannot figure out how to generate QR codes this way in any color other than black. While InDesign lets you choose a color for individual codes you create within the application, I have not been able to find out how to “colorize” the placeholder for the merge in order to generate multiple QR codes through Data Merge that are any color other than black. If you know, please tell us how. If not, then perhaps that ability will come in a future update.

 

Strive to buy your print locally! A community printer will understand communication and design, with a special emphasis on your local market. They should be able to provide you with the latest information, inspiration, technical advice, and innovative ideas for communicating your message through print, design and typography, signage, apparel, variable data printing and direct mail, integrated marketing and environmentally responsible printing. If they can’t, you have the wrong printer! The best advice, always, is to ASK YOUR PRINTER!

 

Call us at 828.684.4512. ImageSmith is a full-service print and marketing provider located in Arden, North Carolina. Contact us at ImageSmith for quotes on all your print and marketing projects, and more useful tips on how to create custom, effective, high impact marketing solutions.
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What’s New in Illustrator CC 2014: Live Corners & Friendlier Pen and Pencil Tools

 

New features in Adobe Illustrator CC 2014

Illustrator CC 2014 brings graphic designers some cool new improvements to enhance the “drawing” experience of this vector program. I’ve always loved using Illustrator, although the disconnect between the feeling of drawing on paper vs. fashioning a vector shape onscreen can seem awkward. The new Illustrator perks: a more user-friendly Pen and Pencil tool and the new Live Shapes/Corners functionality give much more accessible controls to vector drawing and design. The best part of these new improvements? They are very intuitive. While an explanation or overview is helpful to know what has changed, the best way to understand them is to just get in there and create! The new tweaks will become second nature to a user with previous Illustrator experience in no time.

Live Corners – Inset Widget on Live Corners in Illustrator what a great enhancement for drawing and manipulating shapes! While this feature does nothing that was not possible in earlier versions of Illustrator, the sense of control is now much more integrated into the actual drawing process. Selecting any shape, or point on a shape, with the Direct Selection tool will reveal an on-art control point or “inset widget” at each of the corners. You can drag that widget to alter the shape of the corner. Double clicking the widget will open your dialog box for controls over the corner style (round, inverted round or chamfered), the corner radius dimension, and rounding that is Absolute or Relative. Option (or Alt) clicking will toggle between the three styles. Adobe offers some easy online video tutorials to cover all these features, but the process is so intuitive, just playing around with the new features is your best teacher. (BTW, I learned a new word with that “chamfered” corner feature.)

The Pencil Tool fly-out menu in IllustratorThe Pencil tool, in CC 2014, has advanced away from being more of a freestyle drawing tool often relegated to imprecise sketching and moved more toward a companion of the Pen tool. Double clicking the Pencil tool in the Tools palette will bring up its Options where you can set the fidelity of the line you are creating to the actual movement of your cursor. This is a great way to smooth curves when needed, or to create sketchy curves when that is point. Holding down your Option (or Alt) key will constrain the Pencil tool to a straight line; holding down the Command (or Ctrl) key will constrain it to horizontal, vertical or 45° angles. As you can see, this is very much like the Pen tool. The Pencil tool also toggles out to access the Smooth and the Path Erase tools. The Smooth tool is a handy way to touch up a path shape with which you aren’t quite happy. It subtracts excess points and contours to create a smoother shape. The Path Erase tool is your eraser, pure and simple – even stopping mid-segment to create a new end point.

The CC 2014 Pen tool sports some major enhancements as well. Pen Tool Path PreviewOne change you will notice right away is the Pen tool Path Preview. When drawing a shape, it is helpful to see exactly where the path will fall before dropping the point onto the document; this new tool previews that path for you with a colored preview line extending from the last point dropped to the position of the pen before you click in a new point.  Adobe also gave us advancements on the manipulation of anchor points: repair broken anchor point handles, draw uneven handles when needed, and other new ways to finesse closing the shape of a path without distorting your drawing. The Pen tool in Illustrator has always been one of those tools that really needs hands-on practice to understand. Often the description of what or how the tool works is longer and much more confusing than the actual process of using it. So dive in – the new features will become second nature as you use the tools and incorporate the new perks into your work routine.

Launching Illustrator CC 2014 will bring up a Welcome screen that does a great job in introducing everything you need to know: the tabs for New Features, Getting Started, and Tips & Techniques include video tutorials and links to the great online library of Adobe help documents. (You can always access this screen when needed by going to Help – Welcome in the menu bar.) Have fun making some great vectors.

 

Strive to buy your print locally! A community printer will understand communication and design, with a special emphasis on your local market. They should be able to provide you with the latest information, inspiration, technical advice, and innovative ideas for communicating your message through print, design and typography, signage, apparel, variable data printing and direct mail, integrated marketing and environmental responsible printing. If they can’t, you have the wrong printer! The best advice, always, is to ASK YOUR PRINTER!

Call us at 828.684.4512. ImageSmith is a full-service print and marketing provider located in Arden, North Carolina. Contact us at ImageSmith for quotes on all your print and marketing projects, and more useful tips on how to create custom, effective, high impact marketing solutions.