The Pantone libraries MUST be stored in a device-independent colour space (Lab ??)
Enabling soft proofing and color management (optionally) permits both Swatch Library and created art to simulate RGB or CMYK destinations. I believe if you simply copied the outstanding soft proofing features from Photoshop 6 you'd have it right.
Another option is to incorporate Pantone's (now defunct ?) ColorDrive product right into Illustrator 10 AND Photoshop 7. This will permit the creation and export of device-dependant Swatch Libraries right within the apps.
Why on earth do you limit the drawing space to only 120" x 120"? Quark limits their software to only 48" x 48". Most other software allows for huge art areas. This is a big limitation. I have to scale everything before I rip it.
It would be great to be able to work in L*a*b* color. My spectrophotometer is Lab. I am now familiar enough with the color space to where it would be of great use to me especially regarding precision color work.
Also, could you make the transform box consist of a check mark to determine whether we want proportional size adjustments vs separate height and width adjustments? Having to hit all those special keys for a proportional precision scale is the pits.
I don't know what you did with postscript in v9, but all the RIP makers that I know tell us to use v8 because v9 does something to the postscript. These RIP programs cost multiples of what Illustrator costs so I can't really just up and change RIPs like I can change Illustration software.
On another note, some help with SVG would be nice. Either do that in LiveMotion, GoLive or Illustrator. It's kinda tough figuring all that stuff out. Your SVG links on your web site are pretty good.............More SVG stuff!!!!!!!
Ability to select all instances of a color (and tints of a color) in a design and change them to another color (while maintaining tint percentages) without having to make multiple selections via the menu item. Take a look at Freehand for how this is done.
Truth told, if Adobe were to change their way of dealing with colors to be more like Freehand, I'd keep my entire workflow in Illustrator.
1. The overprint preview feature is great. Finally I can get an idea of what my 20% pantone blue will look like overprinted on pantone yellow. However, I can not print out a proof to show my customer and have it look like it does on screen. Maybe an option to print a screen representation?
2. Transparency is a great feature, but having my spot colors converted to process makes it virtually unusable. Any way to have, say, a 50% transparent spot color over a 10% spot color over another 100% spot color sep out retaining all the spot color information? For example a 50% spot color would sep out as a 50% tint of the specified color. Right now, I have to move my individual shapes to Photoshop and have them each on their own layer in order to simulate the printing effect I 'm going for.
If you can't tell, I spend lots of time doing screenprint seps.
Off the top of my head:
1. How about the ability to map channels in TIFF's to any colour we please.
2. It would be nice to specify colours in CMYK as well as spot percentages, rather than have to do it with a style or overprinting spot elements.
3. Expand the separations dialog - don't automatically turn CMYK on - give access to dot shapes - ability to merge colours on output.
1-The field value for border is so little that you can't see all the value you enter : you have to move the blinking cursor with the keyboard arrows to see what is hidden ! Considering this is a manoeuvre you have to do often,... :(
I'm waiting since 7.0 version that adobe fix the problem !
2-New transparency features are great but why sometimes ai9 is able to DISPLAY them but not to convert in bitmap nor to print !
We come back to years where postscript files needed us to pray before flashing. the first job i made with ai9.0 I had to CAPTURE SCREEN image (in 12 zoomed pieces for suffisant resolution) ! Very funny !
3-it is mandatory to know what is the scale factor and the rotation degree of a placed image (tif,...) even AFTER those operations are done. Iwould appreciate it could be the case of vector path too. Why not ? :)
4-please add fonction to convert more easily and more completely (shortcut, automatic first level layer, dialog box to rename, etc.) grouped objects into layer for preparation to export to image ready (for use of rollover fonctions) OR add in ai 9.x slice and animation palette ?!
5-even a little enhacement of the poor perspective effect if you don't want to concur Dimension.
6-when you select two objects with exactly the same effects attributes you can't edit the effect for both in the same time (access denied)
7-about anchor points : PLEASE let user choose for greater dimension of those (freehand's one are far more easy to select) and by the way, add icons of the type of anchor points (sinusoïd or broken etc.) in an inspector window. And, like Freehand (sorry!:)), let users complete a path by simply SELECTING an anchor point and not having to "recreate" it with the pen tool. This is absurd. and frustrating.
2. Easier Font Scrolling (Check out flashes new interface) Its 20 time seasier to see what fonts i need and not through a little window that can't even span the full font name.
3. Ability to drag images from photoshop with transparency without having to export them to save time...
Illustrator is quickly becoming stale and old. Its slow and the interface needs to be rahashed. Illustrator 5.5 was the best i have ever worked with. Fast and interface was not complicated (Example picking colors)
The ability of replacing non-existing fonts when opening a file the same way that Quark Xpress or Freehand do. A simple dialog box would be enough but if you add the possibility of replacing a font for another once inside the file (without having to search for it) it would be nice as well.
1) We need transparency within gradients, much like the Photoshop 6 gradient tool.
2) We need skew, perspective, and distort tools, as in the photoshop transform tools.
3) We need an eyedropper than can select color from pixels in a rasterized image.
4) How about a filter that will convert a whole set of vector objects from full-color (CMYK or RGB) to the color's grayscale equivalent, and then from that grayscale to various shades of a swatch color, etc??
Bring in a completely revised vector optimization palettes. We use a vertical market program called FlexiSignPRO ($5000) which has some incredibly intuitive vector control features. The website is http://www.amiableworld.com
If Illustrator could somehow utilize their vector tools then you guys would have it all!!!
This is the only adobeforums that I can now access.
I used to be able to access all the forums via Outlook Express. I have tried to
post feature requets, but my messages are sent back. If this message goes
through, please tell me what to do.
Hmmm, since I am such a klutz at this forum use,
does anyone know of an an Adobe address/person I can mail a letter to? My
"feature request" is much easier explained as a graphic than a written
This is a cross post from one I put in the discussion threads. Someone said I should put it in this thread, too.
In AI, the Constrain function is less accessible than it is in FH,
because it is a preference setting. Besides being much less convenient
to get to, it also means you can't utilize it in AI's Actions. If you
COULD use it in Actions, it would be very useful in tech
illustration--moreso than FH's Constrain--because changing AI's
constrain also rotates the grid (!). So using Actions, you could set up
one-click buttons to rotate the grid to the axis you are drawing on, and
you'd be able to use the grid to measure along the axis.
If anyone pertainent at Adobe is listening here, I sure hope this would
be considered as a modification for the next version. Make the Constrain
function immediately accessible as a simple menu selection instead of a
preference. (In FH, it's a command under the View menu. There is a
Constrain Xtra that basically just lets you access the Constrain dialog
by clicking on a "tool" icon. So, for example, when you are drawing in
isometric, you can simply put the Constrain Tool in a convenient place
(mine stays in the main toolbar). You click it, key in either 30, 150,
or 0, and hit return. Don't even have to look at the screen, so it's
fairly quick. Of course, this is nowhere NEAR as good as it would be in
AI, if only the Constrain could be built into an Action. You could
create 3 buttons, (one for each X, Y, and Z axis) and one click would
give you a measurable grid on the appropriate axis. Besides FH not
having a macro capability like AI's Actions, FH's Constrain does not
rotate the grid. So making the Constrain funtion in AI a menu selection
instead of a preference would result in a significant advantage for tech illustration.
If you REALLY want to blow FH away in this regard, do the same thing
with the grid. The user definable Grid is similar to FH's Rulers in that
you can set the increment you want. But in FH, again, it's a menu
command/dialog, not a preference setting. And you can create as many
custom rulers as you want (they are then selectable from a popup at the
lower left of the document window). If AI allowed for multiple
user-defined grids, then made them accessible as menu items rather than
as prefs, you could switch them with Actions. Then, you could, with one
click, measure along your three drawing axes EVEN IF THEY HAD DIFFERENT
SCALES (facilitating dimetric and trimetric, instead of just isometric
It's a constant mystery to me why no PostScript vector drawing tool has any more capable an ellipse tool than every ordinary office application.
Similar to a set of ellipse templates, an ILLUSTRATION program should at least offer this:
Double click the ellipse tool to invoke a simple dialog in which is a field labeled "angle." If one keys in 35, he gets a 35 degree ellipse (scaled by the cosign of 30 degrees) when he ShiftDrags an ellipse, rather than a circle. Greatly needed for tech-ish illustration. The dialog should also have a check box labeled "isometric." This would ShiftConstrain the ellipse to 35°16' and scale it aproximately 124.24% so that its true measure would be across it's 30° (isometric) diameter.
Frankly, all LBOs and polygon tools should have this funtionality, but it is first and most sorely needed for ellipses.
With Smart Guides turned on, the Rotate tool snaps to the angles set in the Smart Guides preference, but relative to the position of the mouse click. This would be much more useful if it snaped to the pref angles relative to the center of transformation.
For example: I set the Smart Guides angles to 30, 60, 90, 120, 150 to facilitate isometric drawing. Then I try to rotate an ellipse to align correctly with an axis. But when I use the rotate tool, Smart Guides references the point where I first click to initiate the rotation, which is useless for my purpose. If it referenced the center of transformation point, I would know when I have ROTATED THE OBJECT 30 degrees, rather than merely when I have moved my mouse around the point where I clicked. But instead, the Smart Guides only indicates the default 45 and 90 degrees relative to the origin point about which I am rotating the object.
The debate rages on about whether or not to install multipage/layout technology in illustrator, more advanced illustration and photo-editing in InDesign, more vector capabilities in Photoshop, etc, etc... and at the same time to speed up ALL the programs!
I think the solution is to build ONE big-*** application that consists of dozens of modules that can be opened and closed AS NEEDED, to save memory and avoid too much complexity. Each module would be a seperate entity that could be run alone to perform certain tasks, and when combined with another module, both are enhanced. For instance, why do we need seperate (and less robust) vector tools in Photoshop, when we've got great tools in illustrator, already? If you could work on a layer in photoshop THROUGH ai, then you'd have a much more incredible tool on your side. Similarly, why do we have 3 completely different page setup and print procedures, when we could have ONE print module that handles them all? "Save for Web" (which already exists as a module much like I'm talking about here) shouldn't be three seperate modules for 3 seperate programs... just make it once, for all three. And the other big programs: Acrobat, Dimensions, Streamline, all could benefit from this as well. Imagine InDesign's layout tools being used in Acrobat? Or Streamlining a photograph without having to leave illustrator?
Filters and plug-ins are good starts for such a system, but applying a filter to an object in ai or psd is pretty much a trial-and-error, do-and-undo process. If each filter were, in effect, an application in itself, with it's own history, it's own documents... then you could work on an object (or layer) both places, using the tools from the "native" program as well as the filter, to fine-tune your work.
You could potentially have hundreds of modules, each independently updatable, each sold seperately or en masse. And, hopefully, third-party players could get into the game much like those that produce filters do now.
We don't need more memory-hogs on our systems. We need more efficiency.
Although I know Illlustrator is not ment to be a typesetting program I think the tab function need to have the leader dots or periods. I'd hate to have to use Quark or Pagemaker for that one and only purpose.
Consideration for packaging companies. Many of the new features are fantastic but they do not print well. I know it's becomming a "web world" BUT all to many of those people want the WEB on their Label / Box / Etc. . .
I guess I am asking for more "time in the field" seeing WHAT EXACTLY people are using Illustrator for.
I have trouble with compound paths. Take, for example the letter "B." It has three paths, two of which should be compounded with the outside path. When I open a file that has had compound paths released, then select letter "B" for example, only the top or bottom hole shows.
I must do a pathfiner->divide and then ungroup and delete the inside of the B to have the background show through.
A "Save As Copy" option is needed in the Save As dialog box (like Photoshop 6). I don't get why AI bucks the standard Mac logic by not updating an open document's name in the Title Bar when you "Save As." Rather, you must close the open document and open the newly Saved As document. One careless Command-S after a Save As, and you've contaminated the original. AI didn't used to do that. Drives me nuts. Thanks for the forum and a great product.
I have an idea that involves saving artwork. When you save a file and go through to select illustrator v3 - v8 ---not v9--- and select if and how you want the preview, etc and hit "OK" it then takes you to another dialogue box that tells you if you really want to do this.<br /><br />I usually fly through the dialogues and sometimes forget to check or uncheck an option....<br /><br />The point is that it would be nice when the dialogue pops up telling you to go ahead and save or cancel saving that you guys might put a <back> button to go back to the previous window where we can reselect our options and THEN save the file. Otheriwse we have to go back to the drawing and do apple-S.<br /><br />I know its not a big thing but it would really add to an already elegant program.