Effect

As with most live effects, Stipple appears in the main menu, at Effect > Stipplism > Stipple. It can also be applied directly from the Appearance panel using the “Add New Effect” button at the bottom of the panel.

Stipple Parameters Dialog

After applying the live effect using the menu item (or when clicking on the existing effect in the Appearance panel to edit it), the parameters dialog will appear:

Stipple Parameters Dialog

1. Density

Controls the overall density of the stipple dots (as a percentage of its full-strength value). The default value is 100%, but can vary between 0.01% and 1000%. Lower densities will result in fewer dots. If the Preview option at the bottom is enabled, the number of dots will be displayed.

Stipplism Density Example

2. Quality

Controls the uniformity of the stipple dots. Values can range between 1 and 11, with a default of 3. Higher values result in more uniform patterns (and take longer to calculate).

Stipplism Quality Example

The range is not linear, but is based on a logarithmic scale. Each step up in Quality roughly doubles (or more) the amount of time required to create the dots. For example, 10,000 dots typically take less than 2 seconds to create at qualities of 4 or less, but 5 seconds at quality 6, 30 seconds at quality 9, and about 300 seconds at quality 11. Therefore, for Stipples with large numbers of dots, it’s recommended to start with a low Quality value and increase it later when the design is nearly finalized. If there are many Stipples in the document, creating Graphic Styles may be useful.

3. Underlying Tone Controls Dot Density

When enabled, the default, the lightness (tone) of the selected artwork controls the density of the generated dots, with lighter areas getting fewer dots. This underlying tone must control either the density of the dots or their size (or both), so when this setting is disabled, the Scale Dots By Tone setting will automatically be enabled.

4. Clip to Object

When enabled, the outlines of the selected artwork (including those of strokes and prior effects) are used as a clipping mask for the generated dots, ensuring they do not protrude beyond these outlines.

Stipplism Clip to Object Example

5. Size

Controls the size (diameter) of the stipple dots; the default size is 6 pt / 2 mm. If Scale Dots by Tone is enabled, each dot’s size will be further modified by the curve applied.

6. Scale Dots By Tone

Traditionally, stippling is made using dots which are the same size, with only the number of dots in any area (dot density) used to produce different gray levels. However, when this setting is enabled, Stipple will use the lightness (tone) of the artwork to control the size of the dots (relative to the specified Size), with a graph specifying the relationship between size and tone. Underlying Tone Controls Dot Density can enabled as well, in which case the tone will control both dot size and dot density. When this setting is disabled, the Underlying Tone Controls Dot Density setting will automatically be enabled, as the tone must control at least one or the other.

Stipplism Scale by Tone Example

7. Graph Maximum Value

The factor by which the base Size is multiplied (from 0 to 1000%) to calculate the dot size for tone values where the graph curve is at the top.

8. Graph Minimum Value

The factor by which the base Size is multiplied (from 0 to 1000%) to calculate the dot size for tone values where the graph curve is at the bottom. This allows, for example, the ability to keep the dots from becoming too small by forcing them to start at a certain percentage of the base size.

9. Graph

Available when the Scale Dots By Tone setting is enabled. The graph controls the relationship of the scale of the dots (on the vertical axis) to the tone (the horizontal gradient ramp at the bottom of the graph). In its default state, a diagonal line represents a linear relationship. Points can be added along the line and freely moved on the grid. To delete a point, drag it outside of the grid. Clicking the gradient ramp under the graph with Shift held will reset the graph to the default linear type.

Stipplism Curve Examples

10. Roundness

By default, each stipple dot is a perfect circle, but the Roundness value can be lowered (with a minimum of zero) to make them more irregular. The smaller the Roundness value, the larger the displacement of each dot’s path will be from a true circle.

11. Detail

When Roundness is anything other than 100, the Detail dropdown menu is available. It allows a choice of four options: Low (the default), Medium, High, and Very High. Higher Detail creates more anchor points around the dot’s edge.

Stipplism Roundness and Details Example

12. Color

Specifies the color of the stipple dots. By default, this is set to a fixed value: black. Clicking the color chip will bring up the native Color Picker dialog, allowing a different color to be used.

13. Sample Object

When selected, the stipple dots will automatically pick up the underlying colors of the original artwork at each dot location. Because colors are sampled uniformly without regard to their lightness, the base density of the Stipple is calculated as if the object were totally black.

Stipplism Color Examples

14. Overprint

Specifies whether the stipple dots should be overprinted — that is, if Illustrator should still print all the non-shared inks behind the dots rather than cut holes under them (knockout). This is useful mainly in CMYK documents destined for print. The default value is enabled. Pure white dots will never be set to overprint, regardless of the setting.

15. Ignore Slow Processing Warning

Using the effect with a small Size value and/or a high Density (i.e., high dot counts), especially combined with higher Quality values, will require long periods of time to calculate. When this is the case, by default a warning dialog will be displayed asking for confirmation to proceed. By enabling this setting, the specific Stipple to which it is applied will never show the warning dialog.

Stipplism Warning Dialog

16. Reset Warning button

The Slow Processing Warning dialog can be kept from being displayed again by enabling its Don’t show again checkbox. Thereafter, to re-enable the warning, use the Reset Warning button.

17. Preview

By default this option is disabled and not sticky, since the calculation of the Stipple effect can be slow when its settings are high. However, it can be made sticky by clicking with Option/Alt held down.

18. Dot Count

Available when Preview is enabled; shows the number of stipple dots that were generated with the current settings.

19. Help Button

Opens the help documentation in the Astute Manager. If this does not automatically appear, please ensure your Astute Manager is running first. 

Coming soon

As with most live effects, Symbol Stipple appears in the main menu, at Effect > Stipplism > Symbol Stipple. It can also be applied directly from the Appearance panel using the “Add New Effect” button at the bottom of the panel.

Symbol Stipple Parameters Dialog

After applying the live effect using the menu item (or when clicking on the existing effect in the Appearance panel to edit it), the parameters dialog will appear:

Symbol Stipple Parameters Dialog

1. Seed

When dealing with symbols instead of simple round dots like the Stipple effect, positioning can matter more for the final look of the artwork. Each seed number leads to a different sequence of random values used to position the dots, some of which may produce nicer-looking results than others.

2. Randomize button

Each press of the Randomize button generates a new seed value, chosen at random.

3. Store/Recall buttons

The Store button records the current seed value; the Recall button will load the stored value back into the Seed field. When the dialog is first opened, the stored value is automatically set to the current seed.

4. Previous/Next Seed buttons

The dialog keeps track of all entered or generated seed values for the current session, and these buttons can be used to step through the history, both forwards and backwards. Once the dialog is OK’d or canceled, this history is cleared.

5. Density

Controls the overall density of the symbol dots (as a percentage of its full-strength value). The default value is 100%, but can vary between 0.01% and 10000%. Lower densities will result in fewer symbol dots. If the Preview option at the bottom is enabled, the number of dots will be displayed.

Symbol Stipple Density Example

6. Quality

Controls the uniformity of the stipple dots. Values can range between 1 and 11, with a default of 3. Higher values result in more uniform patterns (and take longer to calculate).

Symbol Stipple Quality Example

The range is not linear, but is based on a logarithmic scale. Each step up in Quality roughly doubles (or more) the amount of time required to create the dots. For example, 10,000 dots typically take less than 2 seconds to create at qualities of 4 or less, but 5 seconds at quality 6, 30 seconds at quality 9, and about 300 seconds at quality 11. Therefore, for Symbol Stipples with large numbers of dots, it’s recommended to start with a low Quality value and increase it later when the design is nearly finalized. If there are many Symbol Stipples in the document, creating Graphic Styles may be useful.

7. Underlying Tone Controls Dot Density

When enabled, the default, the lightness (tone) of the selected artwork controls the density of the generated dots, with lighter areas getting fewer dots. This underlying tone must control either the density of the dots or their size (or both), so when this setting is disabled, the Scale Dots By Tone setting will automatically be enabled.

8. Clip to Object

When enabled, the outlines of the selected artwork (including those of strokes and prior effects) are used as a clipping mask for the generated dots, ensuring they do not protrude beyond these outlines.

Symbol Stipple Clip to Object

9. Symbol

Specifies the symbol to be used as the stippling dot, from all the symbols available in the native Symbols panel. By default, the first symbol in the panel is used. If a document has no symbols at all, applying the effect won’t produce visible results, so at least one symbol should be created beforehand.

10. Include Variants

If the chosen symbol from the Symbol dropdown list has “variants,” this setting (enabled by default) allows them to be used in addition to the base symbol. The variants must have been created before applying the Symbol Stipple effect to the artwork. See below for information on variants and how to create them. The number of variants found will be displayed in parentheses.

11. Use Registration Point

When creating a symbol, Illustrator allows a registration point to be set for it, using a standard nine-block grid control. It can be treated as a pivot used for rotating a symbol and as the center of its coordinates. When Use Registration Point is disabled, Symbol Stipple assumes the pivot of the symbol is at its geometric center. When enabled, the effect treats the registration point as the pivot.

Symbol Stipple Use Registration Point

12. Overall Scale

Specifies the scale value for all of the symbol dots, relative to the original size of the chosen symbol (or its variants). The default value is 100%. If Scale Dots by Tone is enabled, each dot’s size will be further modified by the curve applied.

13. Vary Scale

When enabled, the Vary Scale value sets the factor which will be used to randomly scale each symbol dot in either the up or down direction. For example, if it is set to 4, each symbol dot will be randomly scaled in the range of 25% (one-quarter) to 400% (four times) the Overall Scale value.

Symbol Stipple Vary Scale

14. Overall Rotation

Specifies the angle to which all the symbol dots are rotated. The default value is 0° (no rotation).

15. Vary Rotation

When enabled, the Vary Rotation value defines a range through which the symbol dots will be randomly rotated, in addition to the base Overall Rotation value. For example, if set to 90°, each symbol dot will be rotated to the Overall Rotation value, and then randomly rotated an additional amount from –45° to +45°. The default value is 360°, which means symbol dots would be rotated randomly to any angle.

Symbol Stipple Vary Rotation

16. Rotation Follows Paths

When enabled, the effect rotates each symbol dot to the tangent angle of the nearest spot on the nearest path in the artwork (when possible) before adding the Overall Rotation and Vary Rotation values. The absolute distance from the artwork to the path is not important.

17. Ignore

When Rotation Follows Paths is enabled, this setting allows certain paths to be ignored when determining the rotation. The two options are Ignore Largest Path (valid when there is more than one path, and measured using bounding box area) and Ignore Filled/Stroked Paths. The latter is useful when applying Symbol Stipple to a group of multiple paths because the symbols’ rotation can be controlled by putting no-stroke, no-fill paths anywhere in the group.

Symbol Stipple Follows Example 1

Symbol Stipple Follow Paths Example 2

18. Colorize

Allows the color of the generated symbol dots to be changed. When enabled and set to the color chip (which can be clicked to bring up the native Color Picker dialog), the specified color is used, replacing those used in all fills and strokes inside the chosen symbol (and, when applicable, its variants). If Sample Object is instead enabled, the symbol dots will automatically pick up the underlying colors of the original artwork at each dot location, again replacing those used in all fills and strokes inside the chosen symbol and variants. Because colors are sampled uniformly without regard to their lightness, when using Sample Object the base density of the Symbol Stipple is calculated as if the object were totally black.

Symbol Stipple Colorize Example

19. Depth Sort

When enabled, changes the stacking order of the generated symbol dots. Dots can be sorted by their X-coordinate, their Y-coordinate, or their distance from a certain point on the artwork bounds. The last option uses the standard nine-point grid control to pick the point location.

20. Strength

Available when Depth Sort is enabled. The lower the Strength value, the less strict is the sorting, and the more randomness is introduced into the stacking order.

21. Reverse Order

Available when Depth Sort is enabled; it reverses the normal stacking order.

Symbol Stipple Available when Depth Sort is enabled

22. Scale Dots By Tone

Traditionally, stippling is made using dots which are the same size, with only the number of dots in any area (dot density) used to produce different gray levels. However, when this setting is enabled, Symbol Stipple will use the lightness (tone) of the artwork to control the size of the dots (relative to the specified Size), with a graph specifying the relationship between size and tone. Underlying Tone Controls Dot Density can enabled as well, in which case the tone will control both dot size and dot density. When this setting is disabled, the Underlying Tone Controls Dot Density setting will automatically be enabled, as the tone must control at least one or the other.

Symbol Stipple Scale by Tone Example

23. Graph Maximum Value

The factor by which the base Size is multiplied (from 0 to 1000%) to calculate the dot size for tone values where the graph curve is at the top.

24. Graph Minimum Value

The factor by which the base Size is multiplied (from 0 to 1000%) to calculate the dot size for tone values where the graph curve is at the bottom. This allows, for example, the ability to keep the dots from becoming too small by forcing them to start at a certain percentage of the base size.

25. Graph

Available when the Scale Dots By Tone setting is enabled. The graph controls the relationship of the scale of the dots (on the vertical axis) to the tone (the horizontal gradient ramp at the bottom of the graph). In its default state, a diagonal line represents a linear relationship. Points can be added along the line and freely moved on the grid. To delete a point, drag it outside of the grid. Clicking the gradient ramp under the graph with Shift held will reset the graph to the default linear type.

Symbol Stipple Curve Examples

26. Ignore Slow Processing Warning

Using the effect with a small Size value and/or a high Density (i.e., high dot counts), especially combined with higher Quality values, will require long periods of time to calculate. When this is the case, by default a warning dialog will be displayed asking for confirmation to proceed. By enabling this setting, the specific Symbol Stipple to which it is applied will never show the warning dialog.

Symbol Stipple - Ignore Slow Processor Warning

27. Reset Warning button

The Slow Processing Warning dialog can be kept from being displayed again by enabling its Don’t show again checkbox. Thereafter, to re-enable the warning, use the Reset Warning button.

28. Preview

By default this option is disabled and not sticky, since the calculation of the Symbol Stipple effect can be slow when its settings are high. However, it can be made sticky by clicking with Option/Alt held down.

29. Dot Count

Available when Preview is enabled; shows the number of symbol dots that were generated with the current settings.

30. Tips Button

Displays a dialog summarizing how to use symbol variants, including an explanation of naming conventions (see Symbol Stipple Symbol Variants).

31. Help Button

Opens the help documentation in the Astute Manager. If this does not automatically appear, please ensure your Astute Manager is running first.

Tool Location and Cursor Appearance

The Stylism tool appears in Illustrator’s main toolbar (which must be in Advanced mode: View > Toolbars > Advanced).

Stylism Tool Location

The Stylism tool’s primary cursor is a crosshair. When interacting with the annotated controls, it can assume other forms:

Stylism Tool Cursors

Tool Operation

As the Stylism tool has several keypresses that modify its behavior in different contexts, we suggest installing the free Astute Graphics plugin Astute Buddy, which creates a panel that dynamically updates to inform you of the various keys which can be pressed in the tool’s current context.

The Stylism tool is works in conjunction with the associated Stylism panel, which should be open and accessible. If you are using the free Astute Graphics plugin DirectPrefs, you can have the Stylism panel automatically be shown when the Stylism tool is selected.

To use the Stylism tool, at least one art object must be selected that has in its appearance one of the eight native live effects that Stylism supports (Drop Shadow, Feather, Inner Glow, Outer Glow, Transform, Free Distort, Offset Path, and Gaussian Blur). If this is the case, the art will display (in red, by default) annotated controls (sliders, buttons and dropdown menus) that the tool can interact with to change the effect’s parameters. The controls are always centered over the bounding box of the art object. Common to all effects is a center circle control; the other controls are specific to each live effect.

Menu items to show and hide the Width Stamp panel can be found in the main menu under Window > Astute Graphics > Width Stamp. If the Width Stamp object is created using one of the main menu Object > Width Stamp > Make… items, the panel will be automatically shown if it is not already open.

Width Stamp Panel

1. Flyout menu

See Width Stamp Panel: Flyout Menu.

2. Panel banner

The Width Stamp panel banner has a help button on the right which opens the help documentation in the Astute Manager. If this does not automatically appear, please ensure your Astute Manager is running first. 

3. Make With Top Object button

When the selection consists of artwork that is eligible to be turned into a top-object Width Stamp (at least two art objects, and the topmost object is a path or a group that contains at least one path), the Make with Top Object button will be available. Clicking Make with Top Object creates a Width Stamp object from the selected artwork, using the parameters that are currently specified on the lower area of the panel. The bottom object is used as the grayscale source, while the path(s) above it, which must have a stroke, are used as the contours and will have their widths changed to reflect the grayscale values, according to the width settings and curve on the panel.

Width Stamp Make with Top Object Example

To edit the contour paths that were in the top object once the Width Stamp object has been created, either release the Width Stamp (see Release button) or click the Edit Contours button (see Edit Source Art/Contours buttons).

A Width Stamp (from top object) can also be made using the main menu item Object > Width Stamp > Make With Top Object….

4. Make With Preset button

When at least one piece of artwork is selected, the Make with Preset button will be available. Clicking Make with Preset creates one Width Stamp object for each selected piece of art, using the parameters that are currently specified on the lower area of the panel (to make a single Width Stamp object from multiple pieces of art, group them first). The contours are not created from existing art, but are generated algorithmically, their geometry determined by the type of preset (see Preset Menu below).

Width Stamp Make with Preset Example

A Width Stamp (from preset) can also be made using the main menu item Object > Width Stamp > Make With Preset….

5. Edit Source Art/Contours buttons

When at least one Width Stamp object is selected, the Edit Source Art button and the Edit Contours button will be available. Only one of the two buttons can be active at any time; the active button is distinguished by a darker border. When Edit Source Art is active (which is the default after a new Width Stamp object is created), the source art, which provides the grayscale values, is editable (although it will appear empty), while the contour paths are visible but not editable. When Edit Contours is active, the contour paths are visible and editable, while the source art is hidden and cannot be edited.

Width Stamp Edit Source Art vs. Edit Contours

Note: If a Width Stamp object that was made with a preset is active when the Edit Contours button is pressed, its contour paths become normal editable paths, and the preset parameters will no longer be available to change (in other words, it is as if the Width Stamp had been made using a top object). 

6. Link/Unlink button

When at least one Width Stamp object is selected, the Link/Unlink button will be available. Clicking it toggles between linked and unlinked states. When linked, transformations (moving, scaling, rotating) made to the source art will similarly affect the contour art, and vice versa. When unlinked, transformations can be made to either the source art or contour art independently (however, if the Width Stamp was made from a preset, the Edit Contours button must be pressed before the source art and contour art will become unlinked). 

Width Stamp Edit Linked vs. Unlinked

Note: Illustrator’s Real-Time Drawing and Editing (when using GPU preview) does not properly handle the case of moving the source art when linking is disabled: it appears to move both the source and the contours together, until the mouse button is released. Pressing Shift while moving the source art usually rectifies this.

7. Release button

Clicking Release restores all selected Width Stamp objects to their original component object or objects, which may then be edited and, if desired, made into Width Stamps again.

Width Stamp Release Example

Width Stamps can also be released using the main menu item Object > Width Stamp > Release.

8. Expand button

Clicking Expand “flattens” and removes all selected Width Stamp objects; the resulting variable width paths can subsequently be edited like any other art objects. Each expanded Width Stamp is placed into a group.

Width Stamp Expand Example

Width Stamps can also be expanded using the main menu item Object > Width Stamp > Expand.

9. Width Value 1

(This control may not visible if Hide Curve has been chosen from the panel flyout menu.) Because it is at the top, this value can be thought of as the “maximum” value, although it can be set to any value. When the graph curve is set to the default (a straight line rising from lower left to upper right), it controls the width of the contours where the underlying art is darkest. 

10. Width Value 2

(This control may not visible if Hide Curve has been chosen from the panel flyout menu.) Because it is at the bottom, this value can be thought of as the “minimum” value, although it can be set to any value. When the graph curve is set to the default (a straight line rising from lower left to upper right), it controls the width of the contours where the underlying art is lightest.

11. Graph

(This control may not visible if Hide Curve has been chosen from the panel flyout menu.) The graph specifies the relationship between the width values and the grayscale values in the source art. The horizontal axis represents grayscale values (from white to black), while the vertical axis represents the width amount, specified by the “maximum” and “minimum” value inputs. With the default diagonal line, the relationship is a linear one. 

Width Stamp Graph Examples

Nodes on the curve may be moved simply by clicking and dragging them. A new node may be added by clicking at a spot along the curve which does not already have a node. Nodes (except the ones at the beginning and the end of the curve) may be deleted by dragging them off the graph area. The graph can be returned to its default linear state by holding down Shift and clicking on the thin gradient band underneath it. 

12. Fidelity

Controls how accurately the grayscale levels of the source art are translated to width markers along the strokes of the contours. The value can range from 1 to 10. High values internally rasterize the source art at a higher resolution, and more closely space the width markers along the contours.

Width Stamp Fidelity Examples

13. Smoothing

When using high Fidelity values on a noisy image, the resulting variable width contours may appear “jagged” as their widths change abruptly over small distances. To alleviate this, the Smoothing setting can be enabled. Smoothing acts as a sort of Gaussian blur on the width markers, smoothing the width changes of adjacent markers: 

Width Stamp Smoothing Examples

14. Trim Contours at Min Width

When enabled, contours which reach the “minimum” width (the width specified in the lower Width Value 2 control) are trimmed off at that value. For the typical curve which has a node at the bottom left, this has the effect of removing contours where the underlying image or artwork is white:

Width Stamp Trim Contours

When using Trim Contours at Min Width, a high Fidelity setting is often necessary to keep the shape of the trimmed edges smooth. 

15. Hard

When Trim Contours at Min Width is enabled, and Use Tapering is not enabled, the tips of the contours do not always look pleasing when the underlying grayscale values change from a dark to white in a sharp manner (thereby creating two markers of relatively high width followed by a single marker of zero width at the end of the path). To remedy this, the Hard parameter can be enabled, which forces the contour trim point to be at the next width maker past the minimum width one: 

Width Stamp Trim Contours Hard

16. Use Dashes

When enabled, contours which would normally be below a threshold width will not get any thinner, but will instead change to a dashed appearance, with the dashes getting shorter as the underlying grayscale values get lighter. Dash length depends on the Fidelity and whether Dash Reduction is enabled (the latter setting is not available directly on the panel but can be accessed through the All Settings... dialog).

Width Stamp Use Dashes

The threshold value is specified as a percentage of the minimum-to-maximum range. For example, a threshold value of 25% means the contours will become dashed whenever their calculated width falls in the last quarter of that range. Use Dashes and Use Tapering cannot both be enabled.

17. Use Tapering

When enabled, all contours will have ends that taper to zero width, using the specified length: 

Width Stamp Use Tapering

Use Tapering and Use Dashes cannot both be enabled. 

18. Preset

The popup menu allows a choice of eight different presets, each of which creates contour lines with a different geometry controlled by preset-specific parameters. The presets are Half Grid, Grid, Waves, Zigzag, Concentric Circles, Concentric Squares, Circular Spiral, and Square Spiral: 

Width Stamp Presets

a. Half Grid

The Half Grid preset creates contours that consist of one set of parallel straight lines. The lines can have their spacing and angle specified. 

Width Stamp Half Grid Preset Parameters

b. Grid

The Grid preset creates contours that consist of two sets of parallel straight lines. Each set of lines can have their spacing and angle specified independently. 

Width Stamp Grid Preset Parameters

c. Waves

The Waves preset creates contours that consist of roughly parallel lines which curve back and forth like a wave. Their spacing and angle can be specified, as well as the amplitude and frequency of the waves. 

Width Stamp Waves Preset Parameters

Width Stamp Waves Preset Examples

d. Zigzag

The Zigzag preset creates contours that consist of parallel lines in a herringbone pattern. Their spacing and angle can be specified, as well as the amplitude and frequency of the “zigzags.” 

Width Stamp Zigzag Preset Parameters

e. Concentric Circles

The Concentric Circles preset creates contours that consist of closed, circular paths (or sections thereof) with the same center point. The circles have equal space between them, the value of which can be specified. The diameter of the innermost circle is equal to this spacing value. 

Width Stamp Concentric Circles Preset Parameters

f. Concentric Squares

The Concentric Squares preset creates contours that consist of closed, square paths (or sections thereof) with the same center point. The squares have equal space between them, the value of which can be specified (as well as their angle). The side length of the innermost square is equal to the spacing value. 

Width Stamp Concentric Squares Preset Parameters

g. Circular Spiral

The Circular Spiral preset creates contours that consist of an Archimedean spiral, where each revolution of the spiral lies a fixed distance from the previous one. This spacing value can be adjusted, as well as the angle at which the spiral initially heads, and whether the spiral is in the clockwise or counterclockwise direction. 

Width Stamp Circular Spiral Preset Parameters

Width Stamp Circular Spiral Preset Examples

h. Square Spiral

The Square Spiral preset creates contours that consist of a square spiral (also described as a 4-angle spirangle). Its spacing value and angle can be adjusted, as well as whether the spiral is in the clockwise or counterclockwise direction. 

Width Stamp Square Spiral Preset Parameters

19. Color

The color of the preset contours. Clicking the color chip will bring up the standard color picker dialog. To customize the colors (e.g. use different colors for different contours, or use a gradient or pattern for the strokes), convert the preset contours to ordinary paths by clicking the Edit Contours button.

20. All Settings...

In order to remain at a reasonable size, the Width Stamp panel only contains controls for the most-commonly used settings. After clicking the All Settings... button, the Width Stamp Settings Dialog opens, which offers controls for all of the panel settings as well as for several additional lesser-used settings.

Except for Duotone, Halftone, and Prepress Correct, all of the live effects in Phantasm include a common Options section, which can be in either Basic or Advanced mode. In Basic mode the controls are as follows:

Phantasm Common Options Basic

1. Basic/Advanced Menu

Switches the Options section between Basic mode and Advanced mode.

2. Apply To

Allows the effect to be applied to only certain portions of the artwork or to only certain types of artwork. For example, if the Fill checkbox is unchecked, the effect will not change any fills in the artwork. If the Text checkbox is unchecked, text objects will not be changed.

3. Safe CMYK

Available if the document’s color mode is set to CMYK. When enabled, changed colors will have their ink levels adjusted to conform to the color settings in regards to total ink coverage.

Phantasm Safe CMYK Example

4. Exclude Pure Black

Available if the document’s color mode is set to CMYK and Safe CMYK is enabled. When enabled, and the changed color has only a black component, the Safe CMYK adjustment, which usually has the effect of adding C, M, and Y components, will not be applied to that color.

5. Use CMYK Appearance

Available if the document’s color mode is set to CMYK. When enabled, a color’s grayscale equivalent (which is used when ignoring Rich Black or White in Advanced mode) is derived from its on-screen (RGB) appearance rather than directly from its CMYK value.

6. Ignore Spot Colors

When enabled, spot colors will never be modified by a Phantasm color change, even those that are allowed, such as increasing the brightness.

7. Settings Manager

The popup menu allows a complete set of options (from both the Basic and Advanced sections) to be saved and recalled. Additionally, the default and last used options can be restored.

The interactive controls for the native Drop Shadow live effect consist of two sliders and a positioning arm extending from the center circle, along with a dropdown menu and a color chip:

Stylism Drop Shadow Controls

A. Shadow Offset

The position of the small “ball” at the end of the shadow position arm in relation to the center circle reflects the offset of the drop shadow. When the cursor is hovering over the control, the current X and Y offsets are displayed. Dragging the control will update the shadow offset after the mouse button is released. The two sliders will rotate with the shadow offset control.

Stylism Drop Shadow Position Control

While dragging the shadow offset control, in addition to the common keypresses (see Stylism Annotated Controls and Common Drag Keypresses), the following keypresses can be used:

• Shift: Constrains the angle of the shadow to 45° increments around the general constrain angle.

• Option/Alt: Constrains the change in distance to integer values (or less, depending on the zoom level).

Doubleclicking the control brings up a dialog which allows you to enter the shadow offset numerically, either as the standard X and Y values, or as distance and angle values:

Stylism Drop Shadow Offset Dialog

B. Blur Slider

The blur slider thumb control may be dragged along the blur arm to change the shadow’s blur radius, between 0 and 144 pt. The value increases away from the center circle. When the cursor is hovering over the control or dragging it, the current blur radius is displayed. The blur slider can also be clicked anywhere along its length to move the blur thumb immediately to that position. While dragging the blur slider, in addition to the common keypresses (see Stylism Annotated Controls and Common Drag Keypresses), the following keypresses can be used:

• Shift: Constrains the blur radius to integer values.

Doubleclicking the control brings up a dialog which allows you to enter the blur radius numerically.

C. Opacity Slider

The opacity slider thumb control may be dragged along the opacity arm to change the shadow’s opacity, between 0% and 100%. The value increases away from the center circle. When the cursor is hovering over the control or dragging it, the current opacity is displayed. The opacity slider can also be clicked anywhere along its length to move the opacity thumb immediately to that position. While dragging the opacity slider, in addition to the common keypresses (see Stylism Annotated Controls and Common Drag Keypresses), the following keypresses can be used:

• Shift: Constrains the opacity to steps of 10%.

Doubleclicking the control brings up a dialog which allows you to enter the opacity numerically.

D. Blending Mode

The annotated blending mode dropdown menu allows you to select the shadow’s blending mode, from among Illustrator’s standard 16 blending modes:

Stylism Drop Shadow Blending Mode Menu

E. Color

The color control shows the color of the shadow. To specify a new color, click the square to bring up the standard color picker. To switch from Color mode to Darkness mode, Option/Alt-click the control. A small “D” symbol is displayed to indicate Darkness mode. To change the darkness value, click the square.

The interactive controls for the native Feather live effect consist of a single slider:

Stylism Feather Controls

A. Blur Slider

The blur slider thumb control may be dragged along the blur arm to change the feather’s blur radius, between 0.2 and 250 pt. The value increases away from the center circle. When the cursor is hovering over the control or dragging it, the current blur radius is displayed. The blur slider can also be clicked anywhere along its length to move the blur thumb immediately to that position. While dragging the blur slider, in addition to the common keypresses (see Stylism Annotated Controls and Common Drag Keypresses), the following keypresses can be used:

• Shift: Constrains the blur radius to integer values.

Doubleclicking the control brings up a dialog which allows you to enter the blur radius numerically.

The interactive controls for the native Inner Glow live effect consist of two sliders extending from the center circle, along with two dropdown menus and a color chip:

Stylism Inner Glow Controls

A. Blending Mode

The annotated blending mode dropdown menu allows you to select the inner glow blending mode, from among Illustrator’s standard 16 blending modes.

B. Glow Type

The annotated glow type dropdown menu allows you to select the glow type, which can be either Center or Edge.

C. Blur Slider

The blur slider thumb control may be dragged along the blur arm to change the inner glow’s blur radius, between 0 and 144 pt. The value increases away from the center circle. When the cursor is hovering over the control or dragging it, the current blur radius is displayed. The blur slider can also be clicked anywhere along its length to move the blur thumb immediately to that position. While dragging the blur slider, in addition to the common keypresses (see Stylism Annotated Controls and Common Drag Keypresses), the following keypresses can be used:

• Shift: Constrains the blur radius to integer values.

Doubleclicking the control brings up a dialog which allows you to enter the blur radius numerically.

D. Opacity Slider

The opacity slider thumb control may be dragged along the opacity arm to change the inner glow’s opacity, between 0% and 100%. The value increases away from the center circle. When the cursor is hovering over the control or dragging it, the current opacity is displayed. The opacity slider can also be clicked anywhere along its length to move the opacity thumb immediately to that position. While dragging the opacity slider, in addition to the common keypresses (see Stylism Annotated Controls and Common Drag Keypresses), the following keypresses can be used:

• Shift: Constrains the opacity to steps of 10%.

E. Color

The color control shows the color of the inner glow. To specify a new color, click the square to bring up the standard color picker.

It is often desirable to have the same live effect applied to a number of objects but with different parameters. For example, you might want to apply an AG Offset to many objects with different distance values:

Different AG Offsets Example

Unfortunately, modifying each object one by one is time-consuming and tedious. However, using Randomino, you can instantly assign a random value across multiple objects to many different parameters from a number of common live effects:

• AG Block Shadow: Position

• AG Offset: Distance

• Drop Shadow: Blur, Opacity, Position

• Feather: Radius

• InkFlow: Size

• Inner Glow: Blur, Opacity

• Outer Glow: Blur, Opacity

• Phantasm: Brightness, Contrast, Hue, Hue (Colorizing), Saturation, Saturation (Colorizing), Lightness

• Pucker & Bloat: Strength

• Roughen: Size (Absolute), Size (Relative), Detail 

When the Randomino panel kind is set to Live Effects, one, and possibly two, additional popup menus will appear on the panel:

Randomino Panel Live Effect Callouts

1. Effect menu

Selects the live effect or family of effects to randomize.

2. Parameter menu

Appears if there are multiple parameters available within the live effect or family and allows you to select the parameter.

Tip: Artwork that does not have the specified live effect applied to it will not be changed; i.e., the live effect is not automatically added. 

The interactive controls for the native Outer Glow live effect consist of two arms extending from the center circle, along with one dropdown menu and a color chip:

Stylism Outer Glow Controls

A. Blending Mode

The annotated blending mode dropdown menu allows you to select the outer glow blending mode, from among Illustrator’s standard 16 blending modes.

B. Blur Slider

The blur slider thumb control may be dragged along the blur arm to change the outer glow’s blur radius, between 0 and 144 pt. The value increases away from the center circle. When the cursor is hovering over the control or dragging it, the current blur radius is displayed. The blur slider can also be clicked anywhere along its length to move the blur thumb immediately to that position. While dragging the blur slider, in addition to the common keypresses (see Stylism Annotated Controls and Common Drag Keypresses), the following keypresses can be used:

• Shift: Constrains the blur radius to integer values.

Doubleclicking the control brings up a dialog which allows you to enter the blur radius numerically.

C. Opacity Slider

The opacity slider thumb control may be dragged along the opacity arm to change the outer glow’s opacity, between 0% and 100%. The value increases away from the center circle. When the cursor is hovering over the control or dragging it, the current opacity is displayed. The opacity slider can also be clicked anywhere along its length to move the opacity thumb immediately to that position. While dragging the opacity slider, in addition to the common keypresses (see Stylism Annotated Controls and Common Drag Keypresses), the following keypresses can be used:

• Shift: Constrains the opacity to steps of 10%.

D. Color

The color control shows the color of the outer glow. To specify a new color, click the square to bring up the standard color picker.

The interactive controls for the native Transform live effect are as follows:

Stylism Transform Controls

A. Transformed Object Bounds

The bounds of the object after it has been offset, scaled, and rotated are indicated by a red rectangle with nodes at each corner. Dashed grey lines connect the corners of the rectangle with the original object’s bounds, indicated by a rectangle of solid grey lines. Each of the transform parameters may be changed by using the Stylism tool on this rectangle:

• Offset: Hovering the cursor over the bounds rectangle (except over an edge or corner) displays the current offset values (Option/Alt-clicking on the bounds toggles the readout between X/Y mode and distance/angle mode). Dragging the bounds rectangle (except on an edge or corner) changes the offset (hold Shift to constrain the motion to 45° increments around the general constrain angle). The rectangle may also be doubleclicked to enter the offsets numerically, either as the standard X and Y values, or as distance and angle values:

Stylism Transform Offset Dialog

• Scale: Dragging one of the corner nodes of the bounds rectangle changes the scaling. Holding Shift while dragging constrains the aspect ratio. To change only the horizontal scale or only the vertical scale, drag an edge. To specify the scaling numerically, doubleclick one of the edges of corners:

Stylism Transform Scale Dialog

• Rotation: When the cursor if hovering outside the rectangle but near one of the corners, the current rotation value will be displayed. Dragging from this location changes the rotation. While dragging, holding Shift constrains the rotation to 45° increments around the general constrain angle. Doubleclicking while the current rotation value is being displayed brings up a dialog letting you change the rotation value numerically:

Stylism Transform Rotation Dialog

B. Increment/Decrement Copies

The buttons marked with “+” and “–” increment and decrement the number of transformed copies, from 0 to 1000. Pressing Shift while clicking a button will change the value by 10 instead of 1. Pressing Option/Alt while clicking the button will change number of copies while also retaining the position of the last transformed copy:

Stylism Transform Copies Button Example

Each copy is joined by a thin red line (the copy chain line), and each copy except the first has its bounding box marked with a rectangle of solid grey lines.

C. Scale Strokes & Effects

Controls the Scale Strokes & Effects setting. When disabled, it shows three stripes of the same width; when enabled, three stripes of varying widths. Clicking the button toggles the setting.

Stylism Transform Scale Strokes Example

D. Reference Point

This nine-block widget is similar to the smaller version in the Transform effect parameters dialog, and specifies the reference point (position of the transformation point relative to the bounds of the original object).

E. Randomize

Toggles the Random parameter of the live effect. When disabled, the button displays “N” (for non-random); when enabled, it displays “R”.

F. Transform Copy Chain Tip

Marks the position of the last copy in the copy chain. When the cursor is hovered over it, a display of the current number of copies will appear. Dragging the control changes the number of copies, extending or shortening the copy chain:

Stylism Transform Copy Chain Drag

Dragging the copy chain tip with Option/Alt held down allows you to move the position of the last copy (and, therefore, all intermediate copies) while retaining the current number of copies. Stylism achieves this by calculating and applying the necessary offset values such that the last copy lands at the given coordinates. The scaling and rotation values are not changed.

Stylism Transform Copy Chain Drag with Option

Doubleclicking the control brings up a dialog in which the number of copies can be directly entered. If Option/Alt is being held down (so the coordinates of the last copy are displayed), a dialog in which the coordinates can be numerically entered is displayed.

Phantasm Curves is a live effect/filter that allows color correction of artwork using a curve, similar to Photoshop. As a live effect, it is accessible through the main menu, under Effect > Phantasm > Curves. It can also be applied directly from the Appearance panel using the “Add New Effect” button at the bottom of the panel, or through the Phantasm panel (see Phantasm: Panel).

After applying the live effect using the menu item (or when clicking on the existing effect in the Appearance panel to edit it), the parameters dialog will appear:

Phantasm Curves Dialog

1. Channel Menu

Specifies which channel or channels the current curve applies to. For CMYK documents, this includes the composite four process colors (CMYK) as well as each individual color. For RGB documents, this includes the composite three primary colors (RGB) as well as each individual color. In both cases, individual spot colors will also appear in the list, as well as Image Alpha, which affects the alpha channel in images with transparency.

Modifying the curve of Image Alpha can be useful for adjusting the output of native live effects which produce an embedded image with transparency, such as Drop Shadow, Outer Glow, and Gaussian Blur:

Phantasm Curves Example

2. Curve Graph

The horizontal axis of the graph represents the original brightness values (input levels). The vertical axis represents the new brightness levels (output levels). With the default diagonal line, no colors have been mapped to new values, so all colors have the same input and output values. Nodes on the curve may be moved simply by clicking and dragging them (or their input and/or output values may be modified, see below). A new node may be added by clicking at a spot along the curve which does not already have a node. A node (except the one at the beginning and the one end of the curve) may be deleted by dragging it off the graph area.

By default, the graph has a 4×4 grid, but Option/Alt-clicking on the graph will change the grid to 10×10.

3. Tonal Bar

By default, the graph goes from 0% (white) at lower-left to 100% (black) at upper right, but clicking on the tonal bar icon or the tonal bar itself will switch the graph to go from 0 (black) at lower-left to 255 (white) at upper right.

4. Input/Output levels

These values reflect the selected node, and may be edited to re-position the node.

5. Curve/Map Mode Buttons

By default, the graph is shown as a curve running through individual nodes, but by clicking on the Map button (pencil icon), each point along the axis may be freely drawn on the graph, and may contain discontinuities. Drawing across an existing graph will overwrite the previous lines. If a graph has been drawn in Map mode and the Curve mode button is pressed, Phantasm will approximate the lines as best as it can using a continuous curve. If no nodes are edited and the mode is switched back to Map, the original lines will be restored.

Phantasm Map Mode to Curve Mode

The interactive controls for the native Free Distort live effect consist of a bounding rectangle and two vanishing points:

Stylism Free Distort Controls

A. Distorted Object Bounds

The bounds of the object after it has been free distorted are indicated by a red rectangle with nodes at each corner. When the cursor is hovering over a corner node, the corner’s coordinates are displayed. Thin grey lines connect the corners of the rectangle with the original object’s bounds, indicated by a rectangle of solid grey lines. The corner nodes of the distorted object bounds may be dragged to move them (with Shift to constrain the motion to 45° increments around the general constrain angle). The corners will snap to other objects if Smart Guides are enabled; pressing the U key will temporarily toggle the Smart Guides setting. Each corner may also be doubleclicked to numerically enter its coordinates.

The edges may also be dragged to move them.

B. Vanishing Points

If the distorted bounds are configured such that two of the normally parallel edges are no longer parallel, a vanishing point symbol is annotated at the intersection point of their projections (although this may be off the screen). When the cursor is hovering over a vanishing point, the point’s coordinates are displayed, along with dashed lines connecting it to the corresponding edges. The vanishing point may be dragged to reposition it, with Shift used to constrain its motion along one of the edge projections.

Stylism Free Distort Vanishing Point Drag

Phantasm Desaturate is a live effect/filter that equalizes color channels. By default, it is the same as using the Hue/Saturation effect with a Saturation value of –100. Note that like Photoshop’s Saturation adjustment, the lightness of the original color is not necessarily preserved. For example, 100% Yellow and 100% Magenta will both be adjusted to a value of 50% Cyan, 50% Magenta, and 50% Yellow.

As a live effect, it is accessible through the main menu, under Effect > Phantasm > Desaturate. It can also be applied directly from the Appearance panel using the “Add New Effect” button at the bottom of the panel, or through the Phantasm panel (see Phantasm: Panel).

After applying the live effect using the menu item (or when clicking on the existing effect in the Appearance panel to edit it), the parameters dialog will appear:

Phantasm Desaturate Dialog

1. Gray Tone

Available only if the document is in CMYK color space. It ensures that the altered color is only composed of Black ink, and it equivalent to using the Hue/Saturation effect in Colorize mode with a Saturation value of 0.

Phantasm Desaturate Example

The interactive controls for the native Offset Path live effect consist of a relocatable distance widget and a dropdown menu. For many more options when offsetting a path, including proper offsetting of open paths, as well as multiple offsets, we suggest instead using the Astute Graphics’ AG Offset live effect, which has a dedicated tool and panel.

Stylism Offset Path Controls

A. Offset Distance

The length of the widget reflects the offset distance. The “ball” end can be dragged to change the offset value (to the right for positive amounts) or doubleclicked to numerically enter the value. By default, the widget is placed above the center circle. However, it can be repositioned by holding down Option/Alt and dragging the end without the ball. It will snap to the path, which can make adjusting the offset value easier because the widget will be rotated perpendicular to the path, with the offset path therefore passing directly through the ball:

Stylism Offset Path Widget Relocate

B. Corner Type

The dropdown menu specifies the types of corners used when offsetting the path, from among Miter, Round, and Bevel. The rarely-used Miter Limit parameter is not adjustable through the annotated UI.

Phantasm Duotone is a live effect/filter that creates Duotones (or Monotones, Tritones, or Quadtones) from artwork. It is strongly advised that you enable Overprint Preview (in the View menu) before applying the live effect/filter, as it relies on the overprinting of spot colors where applicable.

As a live effect, it is accessible through the main menu, under Effect > Phantasm > Duotone. It can also be applied directly from the Appearance panel using the “Add New Effect” button at the bottom of the panel, or through the Phantasm panel (see Phantasm: Panel).

After applying the live effect using the menu item (or when clicking on the existing effect in the Appearance panel to edit it), the parameters dialog will appear:

Phantasm Duotone Dialog

1. Color Tone Graph

Shows the relationships between the original tints (shown on the horizontal axis) and the new tints (on the vertical axis) for each color. The graph for the selected color will show nodes, which can be moved (vertically only, as per Photoshop) by dragging them. New nodes can be added by clicking along the curve, but only at horizontal positions where the original tint is a multiple of 10%, plus 5% and 95%. Except for the end nodes, a node can be deleted by dragging it off the graph area.

2. Graph Action Buttons

These five buttons that act to change the selected graph. Flip Vertical and Flip Horizontal flip the graph accordingly; the three lower buttons reset the graph to default linear (0% to 100%), inverse linear (100% to 0%), and full-strength (all 100%), after which it may be edited further as usual.

3. New Tint Input

When a node on a graph is selected, its new tint value (vertical position on the graph) will be displayed here and may be edited numerically.

4. Color Tone List

Shows up to four color tones to use in the effect. Although the color tones are typically spot colors, they may also be process colors (in which case the Multiply transparency effect is used to combine the different tones). The selected color tone in the list is highlighted in a gray-blue; only the selected color tone’s graph is active above and may be edited.

• Active Checkbox: Specifies whether a given color tone is part of the effect. If only a single color is active, the result will be a Monotone; if two are active, a Duotone, and so on.

• Color Chip: May be clicked to select a new color through the color picker dialog. However, this dialog does not provide for creating new spot colors so these should be created in the normal way on the Swatches panel before applying the Duotone filter or effect. If a new process color is created, it may be renamed by doubleclicking on the color name in the Color Tone List.

• Text Checkbox: Specifies whether any editable text present in the selection is rendered in that tone. This can allow users to ensure registration problems are avoided with text by limiting the number of tones in which the text is rendered. Care should be taken when using this option, as various scenarios could mean the text vanishes beneath another color tone.

Phantasm Duotone Example

5. Ignore Objects Containing Spot Colors

When enabled, any objects or groups in the selection which contain objects defined with spot colors will not be rendered as a duotone.

6. Accurate Gradient Adjustment

Acts as per other Phantasm effects (See Phantasm: Common Options (Advanced)).

7. Create Undercoat

When enabled, creates a solid, opaque, “undercoat” color for blocking out any underlying artwork which might normally show through due to overprints being added. White is most commonly used as the undercoat color, but it can be changed by clicking on the color chip to bring up the standard color picker dialog.

The interactive controls for the native Gaussian Blur consist of a single slider.

Stylism Gaussian Blur Controls

A. Blur Slider

The blur slider thumb control may be dragged along the blur arm to change the Gaussian blur radius, between 0.1 and 250 pt. The value increases away from the center circle. When the cursor is hovering over the control or dragging it, the current blur radius is displayed. The blur slider can also be clicked anywhere along its length to move the blur thumb immediately to that position. While dragging the blur slider, in addition to the common keypresses (see Stylism Annotated Controls and Common Drag Keypresses), the following keypresses can be used:

• Shift: Constrains the blur radius to integer values.

Doubleclicking the control brings up a dialog which allows you to enter the blur radius numerically.

If the blur radius is increased to a value that exceeds the native Document Raster Effects Setting “Add [X] Around Object”, by default this setting will automatically be increased to avoid clipping, and a warning dialog will be shown:

Stylism Raster Effects Around Object Warning

Phantasm Exposure is a live effect/filter that implements the Photoshop “Exposure” adjustment for artwork. As the tool was originally developed for adjusting the tone of HDR RGB images, results may be slightly different when used in CMYK color mode.

As a live effect, it is accessible through the main menu, under Effect > Phantasm > Exposure. It can also be applied directly from the Appearance panel using the “Add New Effect” button at the bottom of the panel, or through the Phantasm panel (see Phantasm: Panel).

After applying the live effect using the menu item (or when clicking on the existing effect in the Appearance panel to edit it), the parameters dialog will appear:

Phantasm Exposure Dialog

1. Exposure

Adjusts the highlights, largely maintaining the deepest shadows. It can range from –20 to 20.

2. Offset

Controls the shadows and midtones, with little effect on the highlights. It can range from –0.5 to 0.5.

3. Gamma

Controls the gamma level. It can range from 9.99 to 0.01; a value of 1 equates to no adjustment.

The menu item to show and hide the Stylism panel can be found in the main menu under Window > Astute Graphics > Stylism.

Stylism Panel

1. Flyout menu

See Stylism Panel: Flyout Menu.

2. Panel banner

The Stylism panel banner has a help button on the right which opens the help documentation in the Astute Manager. If this does not automatically appear, please ensure your Astute Manager is running first. Along with the rest of the panel, the panel banner can be clicked to activate the Stylism tool. This is a quick method of locating the tool within the default Advanced toolbar or a custom toolbar.

3. Effects Resolution Setting

This area allows you to see and quickly change the Document Effects Raster Resolution setting, the resolution at which raster objects produced through live effects (such as Drop Shadow, Feather, Gaussian Blur, etc.) are created. Natively, this is found under the dialog opened through the menu item Effect > Document Raster Effects Settings.... Typically, the resolution is set to a fairly low  value (for example, 72 ppi) while working on the document, for speed. Then, when the document is ready to go to print, it is changed to higher resolution (typically 300 ppi or more), for quality.

The new resolution can be entered into the input box, or one of the buttons on the right can be clicked. To customize the resolutions produced by either button, hold down Option/Alt when clicking it.

4. Effects Buttons

The effects buttons are used to quickly add and remove the eight supported native live effects from the targeted art simply by clicking on them (clicking once adds the effect; clicking again removes it).

Stylism Panel Effects Buttons Basics

Buttons which are selected (dark) indicate that its effect is present. The buttons in the first row represent (from left to right): Drop Shadow, Feather, Inner Glow, and Outer Glow; those in the second row represent Transform, Free Distort, Offset Path, and Gaussian Blur.

Stylism Panel Effects Buttons

Effects are added in their default positions (below all strokes and fills, except for the Offset Path effect, which is added above all strokes and fills) and always start with a default set of parameters. Initially, these are the same parameters that would be set when adding the effect natively through the Effect menu. For example, a Drop Shadow is initially given X and Y offsets of 7 pt, a blur of 5 pt, and an opacity of 75%.

However, you can change the parameters that are initially applied when the effect is added using one of the Stylism effects buttons (or flyout menu). To do this, select a single object that has the effect and change its parameters to the desired settings. Then, hold down Option/Alt and click the corresponding effects button. From then on, using the button will add the effect with your custom parameters. (The buttons can have their Illustrator-specified default parameters restored by using the panel flyout menu item Reset All Standard Effects).

Normally, if an effect is already present, then clicking the corresponding effects button again will remove it. To instead add a second copy of the effect, hold down Shift when clicking the button.

Holding down Command/Ctrl when clicking a selected effects button is a shortcut for making it the current effect.

5. User-Defined Favorite Buttons

The user-defined favorite (“UDF”) buttons allow you to save the look of one or more Stylism-controlled effects and later apply it to selected objects. Like a native Graphic Style when using its merge mode, the effects in the UDF buttons do not replace the object’s current appearance but instead add to it. User-
defined favorites are available across documents and Illustrator sessions.

To define a UDF button, there must be only one object selected, and it must contain at least one effect from the eight native effects that Stylism controls. Then, hold down Option/Alt and click the button. The thumbnail image in the button will update, showing the effect(s) as applied to a small square with a white fill and black stroke. Now, clicking the button will add those effect(s) to any selected art without affecting any existing effects. The Stylism tool will be automatically made active (if it is not already).

Stylism Panel User Defined Button Usage

If the selected art already contains the same live effect in the same position as one defined in the UDF button, it will not be replaced. If the UDF button had an effect applied in a stroke or fill and the receiving object has no strokes or fills, the effect will instead be added in its normal position.

6. Effect Selection Menu

This menu is used to switch the current effect (the effect for which the Stylism tool is displaying an annotated UI) when the selected art contains more than one effect, including multiple copies of a single effect. Each effect that is present is listed by name in the menu. Following the name is a code for its position in the appearance stack (as viewed in the Appearance panel):

a. Pre: Effect is above any strokes or fills.

b. S: Effect is in a stroke.

c. F: Effect is in a fill.

d. Post: Effect is below any strokes or fills.

For effects contained in strokes and fills, a small swatch of the color of the stroke or fill is also displayed, to make it easier to select the correct effect.

7. Contour Graph

This graph is available when the Contour Control area is showing, the Stylism tool is selected, and the Astute Graphics’ Phantasm plugin is installed. For use with effects which create an image with an alpha mask (Drop Shadow, Feather, Outer Glow, and Gaussian Blur), it allows you to put a curve on the alpha channel (implemented by automatically adding a matching Phantasm Curves live effect at the bottom of the effect stack). This is most commonly used with the Drop Shadow effect, to achieve a look that can’t be made through changes to the Drop Shadow parameters alone.

Stylism Contour Control Example

The horizontal axis represents the input alpha value, while the vertical axis represents the output value. With the default diagonal line, the two are the same. Nodes on the curve may be moved simply by clicking and dragging them. A new node may be added by clicking at a spot along the curve which does not already have a node. Nodes (except the ones at the beginning and the end of the curve) may be deleted by dragging them off the graph area.

8. Contour Graph Curve Preset Buttons

These four buttons allow you to load and store contour graph curves. Each displays a thumbnail of the curve it contains. To load a graph, simply click on a button. To store the current curve to a button, hold down Option/Alt and click on a button. Curve presets are preserved across Illustrator sessions.

9. Contour Graph Mode Buttons

The contour graph can be created using one of two modes. The left-hand “Curves” button allows editing it as a smooth curve passing through two or more nodes. The right-hand “Pencil” button allows drawing freehand, with the ability to change each value arbitrarily. If a graph is started in pencil mode and later changed to curves mode, the best possible curve will be fitted through the points.

Phantasm Halftone is a live effect/filter that converts artwork into a vector halftone pattern. It includes numerous options and adjustments, including full separation control, dot gain adjustment, a range of dot patterns and types, and the ability to save and recall custom halftone effects.

As a live effect, it is accessible through the main menu, under Effect > Phantasm > Halftone. It can also be applied directly from the Appearance panel using the “Add New Effect” button at the bottom of the panel, or through the Phantasm panel (see Phantasm: Panel).

After applying the live effect using the menu item (or when clicking on the existing effect in the Appearance panel to edit it), the parameters dialog will appear:

Phantasm Halftones Dialog

1. Type

Specifies the type of halftone:

• Monotone: The halftone will be created using one layer of dots, all of the same color. Their sizes are (by default) based on the grayscale equivalent of the underlying artwork. Dot color may be specified by clicking on the color chip to bring up the native color picker dialog.

• CMYK: Available when the document is in CMYK color mode. The halftone will be created using four layers of dots, each using one of the process colors (spot colors present in the artwork will add additional dot layers). Their sizes are (by default) based on the CMYK value at each dot’s position in the underlying artwork. By default each dot layer will have its blend mode set to Multiply. If the Sample Tint option is enabled, the grayscale equivalent of the artwork at each dot location is used to set the tint of the dot’s color.

• RGB: Available when the document is in RGB color mode. The halftone will be created using three layers of dots, each using one of the primary colors (spot colors present in the artwork will create additional dot layers). Their sizes are (by default) based on the RGB value at each dot’s position in the underlying artwork. By default each dot layer will have its blend mode set to Screen. If the Sample Tint option is enabled, the grayscale equivalent of the artwork at each dot location is used to set the tint of the dot’s color.

• Sampled: The halftone will be created using one layer of dots. Each dot’s color will be picked up from the underlying artwork.

Phantasm Halftone Type Examples

2. Pattern

Specifies the pattern of the dots:

• Grid: The dots are placed on a square grid. If the pull-down menu is set to Alternating, the grid cells are staggered, like rows of bricks.

• FM: A specialized type of pattern (short for Frequency Modulated); it has the subtypes Floyd-Steinberg (a pseudo-random pattern) and Bayer Dither (a fixed pattern).

• Radial: The dots are placed in concentric circles. The number of “spokes” is specifiable, from 5 to 7, where spokes refers to the number of dots in the first circle.

Phantasm Halftone Patterns

3. DPI

Short for dots per inch; specifies the dot size, measured as the distance between dots in inches. Values can range between 0.01 and 600. Higher DPI settings may create tens or even hundreds of thousands of dots, with potential very long processing times. A warning dialog will appear if this is the case:

Phantasm Halftone Slow Processing Warning Dialog

Clicking Abort will keep the halftone from being calculated, but the effect will still be attached to the artwork, and if it or the artwork is edited, the effect will need to be re-calculated and thus the warning will re-appear (unless the Don’t show again setting has been enabled).

4. Grid Angle

Rotates the halftone effect relative to the page. When operating with separations (i.e., the halftone Type is CMYK or RGB), each channel’s angle is set relative to the overall Grid Angle.

Phantasm Halftone Grid Angle Example

5. Create Undercoat

When enabled, creates a solid, opaque, “undercoat” color for blocking out any underlying artwork which might normally show through when the halftone dots are being created using transparency or overprints. White is most commonly used as the undercoat color, but it can be changed by clicking on the color chip to bring up the standard color picker dialog.

6. Clip to Object

When enabled, all halftone dots are placed inside a clipping mask so they will never protrude beyond the edges of the original artwork.

Phantasm Halftone Clip to Object Example

7. Use Legacy Algorithm

With Phantasm version 4.0.0, the algorithm which determines the size of the dots near the edges of the object was changed to better reflect an anti-aliased appearance, and to reduce the number of awkwardly-placed full-sized dots. However, the legacy algorithm may still be used by enabling this option, and it can still be useful for infographics or when used with Clip to Object.

Phantasm Halftone Legacy Algorithm

8. Origin Position

Each halftone grid has an origin, from which the positions of all the dots are calculated (this is most apparent with Radial pattern halftones). By default, the origin is positioned relative to the selection artwork, but, for example, when halftones on different objects need to align regardless of how the objects are moved, it is more appropriate to align the halftone relative to the artboard.

Phantasm Halftone Origin Position

9. Origin Specification

The position of the origin (relative to either the Selection or the Artboard) can be fine-tuned with the nineblock control (to specify Center, Top Left, Bottom Middle, etc.) as well as the X- and Y-offset values, which can be either positive or negative.

10. Dot Properties

By default, the dots used in the halftones are simple circles. However, the Shape pulldown menu offers a range of alternative options for dot shapes. When the Shape is changed, the upper part of the Dot Properties section of the dialog may re-configure itself with alternate or additional controls, as shown below.

11. Dot Gain Graph

The Dot Gain graph allows for precise control of the halftone’s response to tonal changes by allowing a non-linear relationship between the underlying grayscale tone and the dot scaling. This provides the ability to darken or lighten the overall results and can be invaluable when dealing with alternative dot shapes like characters and symbols.

The horizontal axis represents the underlying grayscale-equivalent tone of the artwork, from 0% to 100%, while the vertical axis represents the scaling of the dots (which is in addition to the overall Scale H and Scale V values), also from 0% to 100%. With the default diagonal line, the relationship is linear; that is, the scaling of each dot is equal to the underlying tone. Nodes on the curve may be moved simply by clicking and dragging them (or their input and/or output values may be modified, see below). A new node may be added by clicking at a spot along the curve which does not already have a node. Nodes (except the ones at the beginning and the end of the curve) may be deleted by dragging them off the graph area.

By default, the graph has a 4×4 grid, but Option/Alt-clicking on the graph will change the grid to 10×10.

Phantasm Halftone Dot Gain Examples

12. Dot Gain Graph Smooth/Linear Buttons

By default, nodes on the dot gain graph are connected by smooth curves, but by clicking the Linear Segments button, they will instead be connected by straight lines, allowing the curve to change direction abruptly at a node.

13. Input/Output Values

When hovering over the graph, the input and output values corresponding to the cursor location are displayed. When a node of a graph is selected, the values are editable, and may be changed to move the node numerically.

14. Load/Save Buttons

Provide a means to save (or load) all of the current Phantasm Halftone settings to/from an external file, which may be shared with other users. Clicking on either the Load or Save buttons will open the standard operating system’s file load/save dialogue. The file type is of .PHT type.

15. Separations Button

Available when the halftone type is CMYK or RGB. Clicking the button brings up the Separations dialog, in which the visibility, order, angle, origin, and offset of each separation may be edited.

Phantasm Halftone Separations Dialog

A. Visibility Checkbox: Disabling the checkbox will hide that separation in the halftone.

B. Angle: The angle of the halftone for each channel (relative to the overall grid angle). When clicked, the Edit Separation dialog is shown, where the value may be changed. Note that the artwork will not update (even with Preview enabled) until the OK button is clicked.

Phantasm Halftone Edit Separations Dialog

C. Origin: The origin of the halftone for each channel (relative to the overall grid origin). When clicked, the Edit Separation dialog is shown, where the value may be changed.

D. Offset: The distance that the halftone dots for a specific separation will be shifted after they have been composed using the underlying art. When clicked, the Edit Separation dialog is shown, where the value may be changed. Adding an offset can be useful for simulating printing press misregistration:

Phantasm Halftone Separations Offsets

E. Move Up/Move Down Buttons: With a separation selected, clicking one of the buttons will move it up or down in the stacking order. Generally, when the halftone blend mode is set to Transparency or Overprint, this will have no visible effect.

16. Reset Warnings Button

If a warning dialog (such as the long processing time warning) has been hidden through the Don’t show again checkbox, this button will reset all warnings so they appear again.

The Perturb Live Effect may be applied both through the main menu (Effect > Randomino > Perturb...) as well as through the Perturb panel, which will appear in the main menu under Windows > Astute Graphics > Perturb:

Randomino's Perturb Panel

The Perturb panel is used in conjunction with the Perturb live effect, which allows you to independently move anchor points in the selected art in a random manner.

Perturb Panel Callouts

1. Distance controls

The maximum distance that each anchor point will be shifted (in a random direction); it may be adjusted with the slider or by typing a value into the input box. In Relative mode, the value is a percentage of the size of the object (as measured by the diagonal of its bounding box). In Absolute mode, it is a value in the current document units that does not depend on the path’s size.

Perturb Panel Distance Settings

2. Crinkle Controls

In general, Perturb is best for subtly changing paths; the distance parameter should be set to a value lower than the closest anchor points in the original paths. Otherwise, path segments can cross and the results are generally not desirable. However, the Crinkle parameter attempts to allow for higher distance values. When the Crinkle value is low, the closer each object’s anchor points are to each other, the more similarly they will be moved. This allows distortion of an entire shape without losing fine details within the shape. Regardless of Crinkle value, points that are coincident will be moved identically.

Perturb Panel Crinkle Settings

3. Seed Button

Changes the random seed. Each seed value creates a specific set of random values which Perturb uses to offset the points. When applying the Perturb effect to multiple copies of one object, they will initially have the same seed and therefore look the same. Clicking the seed button will give each a new seed. To view the seed value or to set a specific seed value, Option/Alt-click the button.

Perturb Panel Seed Settings

4. Ignore Grouping checkbox

When this preference is enabled, grouped objects will be treated as if they were ungrouped. Coincident points of different paths in the group will no longer be locked together.

Perturb Ignore Grouping Option

5. Apply button

Click to apply the Perturb effect to the selected artwork. To apply multiple Perturb effects to a single piece of artwork, use the main Illustrator menu item Effect > Randomino > Perturb..., or Option/ Alt-drag the Perturb effect in the Appearance panel. For example, the stroke and the fill of a path could be independently Perturbed.

6. Copy popup menu

Chooses which Perturb effect to edit, when the selected artwork has multiple Perturb effects.

7. Flyout menu

Removes all top-level Perturb effects from the selected artwork. Note that if a Perturb effect is applied to an individual member of a group and the entire group is selected, the menu item will not be available.

8. Panel banner

The help button on the right opens the help documentation in the Astute Manager. If this does not automatically appear, please ensure your Astute Manager is running first.

When the dot shape is set to Circle, the Dot Properties area is configured as follows:

Phantasm Halftone Dot Properties - Circle

A. Roundness

Ranges from 0 to 100, with 100 corresponding to perfect circles. Lower values simulate the appearance of real halftone dots printed with ink on paper, with edges that are never perfectly smooth.

B. Detail

For Roundness less than 100, qualitatively specifies the number of anchor points used to describe the shape. Detail can be either Low, Medium, High, or Very High.

Phantasm Halftone Roundness Detail

C. Scale

Specifies the maximum size of the dot as a percentage (from 1% to 1000%) of the full coverage size. The full coverage size is set such that the dot leaves no gaps when applied to a 100% Black area. By unlinking the Width and Height inputs, the aspect ratio of the dots may be changed. For example, a circle may be transformed into an ellipse.

D. Tint Adjusts

By default, all dots have both their width and height adjusted based on the sample tint value. This is, after all, the very definition of halftoning. However, for special effects, the pull-down menu can be changed so only the Width is adjusted, or only the Height, or neither. The None setting is often useful when using a Sampled type halftone, since the dot’s color already reflects the underlying tint and therefore doesn’t need to get smaller to become lighter.

Phantasm Halftone Tint Adjusts

E. Angle

The angle with which to rotate the halftone dot. If the Relative checkbox is enabled, then the angle is relative to the angle of the entire halftone grid.

Phantasm Halftone Dot Angle

If the dot shape is set to Circle, changing the dot angle will not result in any visible change, but the placement of the anchor points on each circle is being affected and would be apparent if the appearance were expanded.

F. Blend

The blend mode to use on the halftone dots. The default for Monotone and Sampled halftone types is Normal (resulting in opaque dots), since there is only one layer of dots. Otherwise, the default mode is Transparency, either as Multiply transparency for CMYK documents or Screen transparency for RGB documents.

CMYK type halftones offer a third blend option: Overprint. To properly view halftones using the Overprint blend mode, Overprint Preview (from the View menu) needs to be enabled. This blend mode is recommended if the resultant artwork is destined to be used in commercial offset printing, as it correctly retains original spot color information.

When the blend mode is set to Transparency or Overprint, it may be desirable to opt for Create Undercoat if there is underlying artwork which has not been changed to a halftone effect. This would block out the underlying artwork from showing through.

A Euclidean dot shape was traditionally produced with analog halftoning methods. It starts out as a circle, but as the tint approaches 50%, it transitions into a square. Therefore, at 50% tint, the halftone pattern is a checkerboard. At higher tint levels, the dots invert, with the gaps between the dots forming circles. Such a dot shape is difficult to implement as vector art as areas of tints greater than 50% would essentially have to form one large compound path. However, Phantasm’s Pseudo-Euclidean dot shape can often be an acceptable approximation when the DPI is set to a fairly high value.

Phantasm Halftone Dot Properties - Pseudo-Euclidean

Because the Pseudo-Euclidean dots assume many different shapes which must touch to give the illusion of a continuous, inverted field for tints over 50%, dot scaling is not allowed, and the scaling controls are dimmed. While the dot angle may be changed from the default of 0%, it generally leads to undesirable results. Relative Angle should always be enabled, for the same reason. The Blend parameter acts identically to the Circle dot shape (see above).

Phantasm Halftone Pseudo-Euclidean Comparison Example

Pseudo-Euclidean dots generally do a better job representing the tonality of the original artwork, especially in shadow areas, without the need to adjust the Dot Gain curve:

Phantasm Halftone Pseudo-Euclidean CMYK Comparison

The following operations can be recorded and played back as Actions:

1. User-Defined Favorite Buttons (recorded by position, not by content).

When the dot shape is set to Square or Line, the Dot Properties area is configured as follows:

Phantasm Halftone Dot Properties - Square/Line

All of the parameters used for the Circle dot shape (with the exception of Roundness and Detail, which are not applicable) apply to Square and Line. The Line shape option constructs each “dot” out of a single, straight, stroked path. The line’s end caps are always set to rounded; if a different style end cap is required, there are two methods. The first is to add the additional Astute Graphics live effect Stroke Attributes, which can modify the end caps. The second method is to simply use a Square shape type instead, and change the Scale W parameter to be smaller than the Scale H.

AG Architect is an Astute Graphics live effect that adds extension lines to path segments, which can be used to give live text or paths an architectural blueprint feel, or for other special effects. A wide variety of parameters can be specified through a panel interface, such as whether the lines appear on curved or straight segments; the lines’ length, style, and position; and whether or not to randomize the results. AG Architect is part of the Stylism plugin.

AG Architect Default Example

As with most live effects, AG Architect appears in the main menu, under Effect > Stylism > AG Architect. It can also be applied directly from the Appearance panel using the “Add New Effect” button at the bottom of the panel. However, the easiest way to apply the live effect is using the Apply button on the AG Architect panel.

The Character dot shape allows the use of text characters as halftone dots. When the dot shape is set to Character, the Dot Properties area is configured as follows:

Phantasm Halftone Character Options Dialog

A. Options

Opens the Halftone Character Options dialog:

Phantasm Halftone Character Options Dialog

The font of the characters may be chosen using the pull-down menu. Generally, heavier typefaces give closer color-matching results as glyphs in the lighter ones do not offer sufficient area. If Pick Random Character is enabled, each dot will use a random character from the characters which appear in the Characters field (by default, the English uppercase alphabet; up to 2047 characters may be entered). Characters may be entered more than once to increase their random frequency. When Repeat Text is enabled, dots will use the characters in their entered order, repeating as necessary.

Phantasm Halftone Character Examples

All of the parameters used for the Circle dot shape (with the exception of Roundness and Detail, which are not applicable) apply to Character.

The AG Architect live effect does not have a modal parameters dialog, but is instead edited using a panel, which can be shown and hidden using the menu item found in the main menu at Window > Astute Graphics > AG Architect. When at least one selected object has the AG Architect live effect applied, the panel controls will update to reflect the parameters of those effects, which can then be edited. A value field which is blank or (for checkboxes) with a dash indicates that the parameter has different values in the selection. These can be unified (made the same) by entering a new value.

AG Architect Panel

1. Flyout menu

See AG Architect Panel: Flyout Menu.

2. Panel banner

The help button on the right opens the help documentation in the Astute Manager. If this does not automatically appear, please ensure your Astute Manager is running first.

3. Segments

Extension lines will be added to path segments which are curved and/or straight, when the corresponding option is enabled.

AG Architect Curved Straight Example

4. Only If Angle Is

When enabled, extension lines are only added if their angle matches the specified value (within the specified tolerance). Angles are measured using the normal Illustrator convention.

AG Architect Only if Angle is Example

5. Include 180-Degree Differences

When using the Only if Angle is setting, specifies that directions 180° from the specified angle should be considered the same.

AG Architect 180 Degree Difference Example

6. Only If Length is

When enabled, extension lines are only added to path segments that are longer than the specified length.

7. Joins

Extension lines will be applied at the ends of path segments which end in smooth or corner anchor points, when the corresponding option is enabled.

8. Open Path Endpoints

Extension lines will be added at the ends of open paths.

9. Holes in Compound Paths

Extension lines will be applied to path segments which comprise subpaths which form holes in compound paths.

10. Positioning

The stacking position of the extension lines relative to the original source art, from among Above Original, Replace Original, or Below Original.

AG Architect Positioning Example

11. Length

The base length of the extension lines (before any randomization). When the dropdown menu is set to Absolute, the length is specified as an absolute value (for example, 15 pt). When the dropdown men is set to Relative, the length is specified as a percentage of the diagonal length of the source path’s bounding box.

12. Stroke

The stroke style of the extension lines, as specified using the dropdown menu. When set to Use Original, the stroke’s style is taken from the original source path (except dashes are not preserved). Otherwise, the color, weight, or both is set to the specified values.

13. Color

Available when the stroke is set to Specify Color or Specify Both; specifies the color of the extension lines. Clicking the color chip brings up a standard color picker dialog.

14. Weight

Available when the stroke is set to Specify Weight or Specify Both; specifies the stroke weight of the extension lines.

AG Architect Stroke Example

15. Extend As

Specifies the extension’s geometry, either Straight (all extension lines are straight) or Smooth Curve (extensions from curved path segments will also be curved, following the natural extension of the bezier curve’s shape).

AG Architect Extend As Example

16. End Style

Specifies the style for the terminus of the extension lines.

Normal extension line end without any special treatment; the end cap type is either taken from the stroke on the original path (if the Stroke setting is set to Use Original or Specify Color), else is set to Butt Cap type.

Tapered extension line thin to a sharp point. The length of the tapered portion of the line can be specified either as an absolute distance or as a percentage of the total line length. When AG Architect effects with Tapered extension lines are expanded, the lines are converted into closed path shapes.

Dashed extension line end in one or more dashes, which shorten towards the end of the line. The number of dashes can be changed (from 1 to 9), and the length of the dashed portion of the line can be specified either as an absolute distance or as a percentage of the total line length.

AG Architect End Styles

17. Randomize

When enabled, several of the live effect’s parameters can be randomly varied: the length of the extensions, the dash count (if Dashed end type is used), and the probability that an extension line will be created at all.

18. Seed

Each random seed number leads to a different sequence of random values. Clicking the button picks a new seed, thereby changing the look of the artwork. To view or specify the seed number directly, Option/Alt-click the button. This lets you recreate a previously-generated look.

19. Length Variation

When randomization is enabled, specifies the maximum amount of variation in the final extension line length. For example, if the length is set to 20 pt, then a variation value of 25% would produce lengths that vary by as much as 20 pt × 25% = 5 pt, that is, between 15 pt and 20 pt; a variation value of 90% would produce lengths between 2 pt and 20 pt.

20. Dash Count Variation

When randomization is enabled, specifies the random variation in the dash count (when using the Dashed end type). For example, if the count is set to 8, then a variation value of 25% would produce count values that vary by as much as 8 × 25% = 2, that is, either 7 or 8; a variation value of 100% would produce count values between 1 and 8.

21. Retention Probability

When randomization is enabled, specifies the probability that an extension line will be created at each spot where one is eligible. 

AG Architect Randomization

22. Apply Button

Click to apply the AG Architect live effect to the selected artwork, with the parameters set as they currently exist in the panel. If the button is not available, then either nothing is selected or the selection already contains at least one object with an AG Architect effect. If the button is clicked with Shift pressed, the extension lines will be added and immediately detached, essentially creating them as editable artwork rather than as a live effect. However, this loses the ability to preview the effect first.

Available when there is at least one symbol in the document, the Symbol dot shape allows symbols to be used as halftone dots. Each symbol that is not a variant (see below) appears in the pull-down menu, in alphabetical order, and can be chosen as the shape to use for the dots. The Dot Properties area is configured as follows:

Phantasm Halftone Dot Properties - Symbol

A. Colorize

By default, symbols remain in their original colors. However, by enabling Colorize, each symbol will have all of its fills and strokes changed to the color that the dot would normally have if it were of Circle shape, say.

Phantasm Halftone Symbol Colorize

B. Include Variants

If the chosen symbol from the Shape pull-down menu has “variants,” this setting (disabled by default) allows them to be used in addition to the base symbol. The variants must have been created before applying the Phantasm Halftone effect to the artwork. For more information on symbol variants, see Phantasm Halftone: Symbol Variants. Additionally, when a symbol is chosen as the dot shape, a Tips button will appear on the dialog; when clicked, it brings up a dialog summarizing symbol variant creation and naming.

All of the parameters used for the Circle dot shape (with the exception of Roundness and Detail, which are not applicable) apply to Symbol.

The AG Architect panel flyout menu items are contextually sensitive and all items may not be available, depending on the current selection.

AG Architect Panel Flyout Menu

1. Detach All Selected AG Architect Effects

Changes the extension lines created by all AG Architect live effects in the selection into editable artwork, and removes the effect from the appearance(s). This is similar to using the native menu command Object > Expand Appearance, but is more flexible because it leaves the existing artwork (and other live effects which may be present) intact.

2. Remove All Selected AG Architect Effects

Removes any AG Architect live effects from the selection. (This can be done from the Appearance panel as well, but not if multiple AG Architect effects are present with different parameters. In that case, the Appearance panel will simply display “Mixed Appearances” and the ability to select the live effect and delete it will no longer be available.)

3. Save Settings...

Captures all of the current parameter settings on the panel to a file, which can be instantly recalled later (either in the current file session or a later one). A dialog will appear through which the file name may be specified.

4. Manage Settings...

Brings up a dialog through which existing settings files may be renamed or deleted:

AG Architect Manage Settings Dialog

A. Settings List: Shows all user-saved settings. One or more settings files can be selected for use with the buttons at the bottom of the dialog by clicking on them in the list, with Shift pressed to select contiguously or Command/Ctrl pressed to select discontiguously, as normal.

B. Rename Button: If a single settings file is selected, allows it to be renamed, through a separate dialog. If the Cancel button is used, the original names will be restored.

C. Delete Button: Removes the selected settings file(s). The files are not permanently deleted until the OK button is clicked.

5. Settings Files

User-defined settings will appear below the built-in [Default Settings] menu item. Choosing a settings menu item will load the panel with the settings it had when the file was saved; the AG Architect effects in any selected art will be updated to match.

Halftone can use more than one symbol within a single applied effect by utilizing symbol variants, which are simply additional symbols with special names that enable Halftone to identify them as belonging to one “group”. An advanced naming technique allows further control over the distribution of each variant within the halftone.

There are two ways to create symbol variants: automated and manual.

Halftone Symbol Variants: Automated creation

Note: The automated creation method requires the Astute Graphics Stipplism plugin to be installed.

1. Create the base symbol first. Due to internal limitations, automatically-created variants are always created as Static Type symbols, so it is best to also use the Static Type symbol when creating the base symbol, because otherwise they may react differently to scaling when the general preference Scale Strokes & Effects is disabled.

2. Create other artwork which will be used as the variants. These may be similar to the base symbol (such as just having a different color), but they may also be completely different. If a variant is composed of more than one object, the objects need to be grouped.

3. With the artwork selected, choose Object > Create Symbol Variants... from the main menu to display the Create Symbol Variants dialog.

Phantasm Halftone Symbol Variants Dialog

4. Pick a symbol to use as the base symbol from the pull-down menu.

5. Enable Delete Selected Art After Symbol Creation if you don’t want the original objects to be retained on the artboard. Note that the retained artwork won’t be replaced with their respective newly-created symbols they way Illustrator does when a symbol is created manually.

6. Click OK to finish.

To see the result, open the native Symbols panel. If the symbol names are not visible, from its flyout menu choose either the Small List View or Large List View menu item.

The chosen objects are added as symbols, but with special names assigned. For example, given a base symbol name of Triangle, its symbol variants would have names like these:

Triangle_var_001

Triangle_var_002

Triangle_var_003

Halftone Symbol Variants: Manual creation

The special _var_[string] suffix, added to the base name, is the sole determinant of whether a symbol is considered a variant or not. Therefore, symbols can be named manually using this pattern to turn them into variants. The Tab key can be used to quickly rename symbols in succession. While the automated method of variant creation uses a three-digit number that increments as the string following the _var_ suffix, it need not be a number; it can be any unique identifying name. So the following names would also be equally valid:

Triangle_var_darker

Triangle_var_verydark

Triangle_var_black

Halftone Symbol Variants: Usage

To use symbol variants in addition to the base symbol in Halftone, simply enable the Use Variants checkbox in the parameters dialog. Note that only base symbols will appear in the list of available symbols, so variants can’t be used independently. For each halftone symbol dot, either the base symbol or one of its variants are chosen at random with equal frequency, unless additional naming options have been used to specify the density distribution (see below).

Phantasm Halftone Symbol Variants Example

Halftone Symbol Variants: Density Specification

Additional naming syntax allows control over the distribution of symbol variants used within a Halftone. The following suffix can be added to a variant symbol’s name to make it a density-specified variant (its position in the halftone is restricted to a density range):

=dxxx-xxx (where each xxx is a three-digit number between 000 and 255) means the variant will be only used within the halftone where the underlying grayscale-equivalent tone (as measured from 0–255) is equal to or between the two specified values. The smaller value must come first in the name. If the underlying tone lies inside more than one variant’s density range specifier, then the variant is randomly picked from among the valid variants, thereby creating a mix of symbols in certain areas.

Phantasm Halftone Symbol Variants - Density Specified

If any density-specified variants are present, then the base symbol and any normal variants will not be used at all. If a variant name is changed after the Halftone is created, the live effect will not be updated until its parameters dialog is opened.

Phantasm Hue/Saturation is a live effect/filter that allows hue, saturation, and lightness correction of artwork similar to Photoshop’s. As a live effect, it is accessible through the main menu, under Effect > Phantasm > Hue/Saturation. It can also be applied directly from the Appearance panel using the “Add New Effect” button at the bottom of the panel, or through the Phantasm panel (see Phantasm: Panel).

After applying the live effect using the menu item (or when clicking on the existing effect in the Appearance panel to edit it), the parameters dialog will appear:

Phantasm Hue/Saturation Dialog

1. Hue Range Pull-down Menu

When set to Master, the adjustments will apply to all colors in the artwork. However, it can also be changed to one of six independent hue ranges. By default, these are: Reds, Yellows, Greens, Cyans, Blues, and Magentas. Each color can have its own adjustment parameters, with variable start, fade-in, end, and fade-out parameters (see item 6 below). These color ranges refer the artwork’s original colors, not the color that results from any Master adjustment. The menu is not available when Colorize is being used.

2. Hue

Adjusts the hue of the art, from –180 to 180. The slider may be dragged, or a numerical value entered directly.

Phantasm Hue Examples

3. Saturation

Adjusts the saturation of the art, from –100 to 100. The slider may be dragged, or a numerical value entered directly.

Phantasm Saturation Examples

4. Lightness

Adjusts the lightness of the art, from –100 to 100. The slider may be dragged, or a numerical value entered directly.

Phantasm Lightness Examples

5. Colorize Checkbox

When enabled, the hue/saturation/lightness functionality is changed; the artwork is changed to a single hue, with adjustable saturation and lightness. In Colorize mode, the Hue parameter changes to a range of 0 to 360, and the Lightness parameter changes to a range of 0 to 100. The Hue Range Pull-down Menu is no longer available.

Phantasm HLS with Colorize Examples

6. Color Range Stripes

The top stripe represents the original colors, and the bottom stripe shows the corresponding colors after adjustment. Certain adjustments may not be clearly reflected in the stripes, such as increasing the saturation, as the colors shown are already saturated. When adjusting a hue range other than Master, the stripes will also display controls which offer the ability to adjust the start, fade-in, end, and fade-out parameters for that range:

Phantasm HLS with Colorize Examples

To edit the hue range controls, drag the inner controls (B and D) to specify the range that will be affected 100% and the outer controls (A and E) for the fade-in/fade-out limits. Dragging the area marked C will move all four controls together. It is also possible to drag the regions between controls A and B, and between D and E, to move the pair of controls together (this also makes it possible to put A or E on the opposite end of the stripe from its corresponding inner control). Numeric values are shown for each control’s position above the upper color stripe (a, b, d, and e).

The Hue Range menu color name entries will adjust automatically to best describe the range that is described by the controls. If there are multiple ranges that describe the same basic color, a number will be appended to the color name (for example, there might be Reds and Reds 2).

Phantasm Invert is a live effect/filter that simply inverts the levels of all color channels. As a live effect, it is accessible through the main menu, under Effect > Phantasm > Invert. It can also be applied directly from the Appearance panel using the “Add New Effect” button at the bottom of the panel, or through the Phantasm panel (see Phantasm: Panel).

After applying the live effect using the menu item (or when clicking on the existing effect in the Appearance panel to edit it), the parameters dialog will appear:

Phantasm Invert Dialog

1. Invert Appearance

Available only if the document is in CMYK color space. Most common CMYK colors do not have large amounts of Black in them, so when that channel is inverted, the Black level becomes high and the colors typically get very dark. When Invert Appearance is enabled, artwork is instead inverted in a visually-similar way to how RGB artwork would be inverted, which is generally more useful:

Phantasm Invert Example

Phantasm Levels is a live effect/filter that allows adjustment of the black, white, and mid-point gray input levels and output levels of artwork, similar to Photoshop’s Levels dialog. As a live effect, it is accessible through the main menu, under Effect > Phantasm > Levels. It can also be applied directly from the Appearance panel using the “Add New Effect” button at the bottom of the panel, or through the Phantasm panel (see Phantasm: Panel).

After applying the live effect using the menu item (or when clicking on the existing effect in the Appearance panel to edit it), the parameters dialog will appear:

Phantasm Levels Dialog

1. Channel Menu

Specifies which channel or channels the current levels settings apply to. For CMYK documents, this includes the composite four process colors (CMYK) as well as each individual color. For RGB documents, this includes the composite three primary colors (RGB) as well as each individual color. In both cases, individual spot colors will also appear in the list, as well as Image Alpha, which affects the alpha channel in images with transparency.

2. Input Levels

Sets the levels for the shadows (0 to 253), midtones (0.1 to 9.99), and highlights (2 to 255). The shadow and highlight levels are absolute values, while the midtone value is always relative to them.

3. Histogram

Shows the levels of the tints of the selected channels within the targeted art as a histogram. Due to plugin limitations, if the Levels live effect is applied to multiple targeted art objects, a histogram of only one of them can be displayed (a warning will be shown). Histograms that cannot be displayed, such as for Image Alpha, will show a “Null” symbol (a circle with a slash through it). The slider thumbs under the histogram reflect the current input levels, and can also be dragged to adjust them.

4. Output Levels

Sets the tonal range that the adjusted art will assume. The shadow level can be brought to the right of the highlight level, in which case the levels will be inverted.

5. Output Level Slider

The slider thumbs reflect the current output levels, and can be dragged to adjust them.

6. Warning Area

Displays warnings, such as when the effect is being applied to multiple targeted art objects, or when a spot color is present in the artwork.

The AG Block Shadow tool appears in Illustrator’s main toolbar (which must be in Advanced mode: View > Toolbars > Advanced), stacked under the Stylism tool. As with other stacked tools, click and hold on the top tool icon to display the tools stacked under it.

AG Block Shadow Tool Location

The AG Block Shadow tool’s cursor is a crosshair, except when previewing a new shadow or adjusting an existing shadow, in which case it appears as an arrowhead with a shadow:

AG Block Shadow Tool Cursors

Phantasm Prepress Correct is a live effect/filter for CMYK documents destined for print that offers the most common ink control operations from the Basic and Advanced Options section present in most of Phantasm’s other live effects.

As a live effect, it is accessible through the main menu, under Effect > Phantasm > Prepress Correct. It can also be applied directly from the Appearance panel using the “Add New Effect” button at the bottom of the panel, or through the Phantasm panel (see Phantasm: Panel).

After applying the live effect using the menu item (or when clicking on the existing effect in the Appearance panel to edit it), the parameters dialog will appear:

Phantasm Prepress Correct Dialog

1. Safe CMYK

When enabled, if the document’s color mode is set to CMYK, colors will have their ink levels adjusted to conform to the color setting in regards to total ink coverage. For example, typically offset presses require that the total ink in any one spot on the paper is 300% total coverage or less. See Phantasm: Common Options (Basic).

2. Exclude Pure Black

Available if Safe CMYK is enabled. This option keeps any Safe CMYK adjustment, which usually has the effect of adding C, M, and Y components, from being applied to pure black colors.

3. Remove Overprinted White

Removes the overprint flag from any white art objects, which normally would cause them to disappear completely on separated output for printing.

4. Overprint Pure Black

Adds the overprint flag to art objects which are pure black, which can be beneficial by reducing knockout/alignment issues that can occur on an offset press. The associated slider determines the percentage of Black, and above, that should have the overprint flag added. For example, if the slider is set to 75%, only objects colored with 75% Black (no Cyan, Magenta or Yellow) or 75% grayscale or above would have an overprint setting added (if not already present). The overprint would only apply to the relevant fill or stroke, or both. Enabling the associated Text Only checkbox will limit the flag to pure black editable text objects. Gradient meshes and bitmaps are not affected by Overprint Pure Black.

As the AG Block Shadow tool has several keypresses for certain operations, we suggest installing the free Astute Graphics plugin Astute Buddy, which creates a panel that dynamically updates to inform you of the various keys which can be pressed in the tool’s current context.

The AG Block Shadow tool is works in conjunction with the associated AG Block Shadow panel, which generally should be open and accessible. If you are using the free Astute Graphics plugin DirectPrefs, you can have the AG Block Shadow panel automatically be shown when the AG Block Shadow tool is selected.

The AG Block Shadow tool offers a graphical method for both adding and editing AG Block Shadow live effects.

Phantasm Shift to Color is a live effect/filter that allows moving all of an art object’s colors towards a specified color by a variable amount, simulating transparency without actually using it. This may be useful when exporting to basic vector formats or other situations where using actual transparency might require flattening which can cause other issues.

As a live effect, it is accessible through the main menu, under Effect > Phantasm > Shift to Color. It can also be applied directly from the Appearance panel using the “Add New Effect” button at the bottom of the panel, or through the Phantasm panel (see Phantasm: Panel).

After applying the live effect using the menu item (or when clicking on the existing effect in the Appearance panel to edit it), the parameters dialog will appear:

Phantasm Shift to Color Dialog

1. Color

The color that the artwork is shifted towards. Clicking the color chip brings up the native color picker. Although spot colors can be used, the resulting colors will always be process CMYK or RGB (depending on document type).

2. Shift

Specifies the amount of shift, from 0% to 100%.

Phantasm Shift to Color Example

When the tool is hovered close to or over an art object that can accept an AG Block Shadow effect (but does not currently have one), it will automatically preview the shadow as it would generally appear using the current panel parameters. The art does not need to be selected. The type of preview depends on the tool preference settings. The default preview is a full one, showing the solid fill of the shadow in the specified color (however, the preview will not show gradients or patterns when the object has such a fill and the preference Shadow Adopts Artwork Fill Color is enabled). Previews are based on the shape of the base artwork, and will not reflect any existing live effects that might change that shape.

AG Block Shadow Tool Preview

By default, annotated text by the cursor will show the shadow’s length (abbreviated as “L:”), angle (as “A:”), and scale (as “S:”; omitted if it is set to the default 100%); if the shadow is a Vanishing Point type shadow, the vanishing point’s coordinates are annotated in place of its length and angle. These annotations can be temporarily hidden by holding down the Option/Alt key. Clicking will add the block shadow to the art object (always placing the live effect below all strokes and fills in the object’s appearance), or the shadow can be dragged first to adjust it in the same way an existing block shadow would be edited (see Editing Existing Block Shadows).

AG Block Shadow Tool Click Apply

Because the AG Block Shadow tool creates previews of shadows for any artwork it is over, selected or not, care should be taken not to pass it inadvertently over unlocked artwork with high numbers of path segments, such as large blocks of text or objects with Phantasm Halftone or Stipple effects, because calculating the shadow for these objects can take some time. In addition to keeping such art on locked layers, the preference Auto Switch To Fast Preview can help (see AG Block Shadow: Preferences).

When the tool is hovered close to or over an existing block shadow, it can be edited with the tool. By default, a wireframe preview of the shadow will be added when the cursor is above it (and the cursor will show the length/angle/scale annotations, unless these have been disabled). Dragging the shadow will allow its length and angle to be changed. If the shadow is of Vanishing Point type, the vanishing point will be annotated by a crosshair icon, which can be repositioned by dragging it (dragging the shadow itself also moves the vanishing point, and the shadow’s movement may not match the cursor’s).

AG Block Shadow Tool Drag Edit

When the preference Edit Existing Shadows Using Original Position is enabled (the default), then a Standard type shadow is moved relative to its original position rather than being reset to zero length before being dragged.

While dragging to edit a shadow, a number of keypresses may be used:

• Shift: Constrains the angle of the shadow to 45° increments around the general constrain angle (for Standard type shadows); or constrains the movement of the vanishing point to 45° increments around the general constrain angle (for Vanishing Point type shadows).

• Option/Alt: For Standard type shadows, constrains the length to integer values.

• Up Arrow/Down Arrow: Changes the Scale parameter by the increment value specified in the preferences (1%, by default).

• Left Arrow/Right Arrow: Changes the Gap parameter by the increment value specified in the preferences (1%, by default).

• 1: Sets the scale to 100%.

• 2: Sets the scale to 200%.

• 5: Sets the scale to 50%.

• 7: Sets the scale to 75%.

• 0: Sets the scale to 0%.

• A: Toggles on and off the tool’s cursor annotation (length, angle, and scale values).

• C: Changes the wireframe color, cycling through red, blue, magenta, green, black and grey.

• D: Sets the shadow to its default parameters (Standard type, 100% scale, no gap, black color, Shadow Strokes enabled; the length and angle are dependent on where the cursor is located).

• G: Toggles the Gap parameter on and off.

• Q: Switches the shadow preview type between Full, Wireframe, and Fast Wireframe (see AG Block Shadow: Preferences).

• S: Toggles the Shadow Strokes parameter.

• U: Temporarily disables Smart Guides, if they were enabled when the drag started.

• X: Toggles detach mode. When true, the cursor shows a dotted line between the arrowhead and the shadow, and the shadow will be added but then immediately detached after the mouse button is released, essentially creating it as editable artwork rather than as a live effect.

The AG Block Shadow tool works on a single shadow at a time (except potentially when moving a vanishing point and the preference Link Shadow Vanishing Points is enabled), and at the highest group level. In other words, if an object is given a block shadow, and then grouped with another object, then normally the tool will not be able to edit the block shadow that is inside the group, but will instead offer to add a new block shadow at the group level. To edit the inner shadow, either isolate the grouped object (in which case the tool can be used) or edit the shadow numerically using the panel. To edit multiple shadows simultaneously, use the panel.

Phantasm Temperature/Tint is a photography-oriented live effect/filter that allows subtle adjustment of color temperature and tint.

As a live effect, it is accessible through the main menu, under Effect > Phantasm > Temperature/Tint. It can also be applied directly from the Appearance panel using the “Add New Effect” button at the bottom of the panel, or through the Phantasm panel (see Phantasm: Panel).

After applying the live effect using the menu item (or when clicking on the existing effect in the Appearance panel to edit it), the parameters dialog will appear:

Phantasm Temperature/Tint Example

1. Temperature

Changes the “coldness” or “warmth” of artwork by adjusting the orange and blue tones. Ranges between –100 (more blue) and 100 (less blue/more orange).

2. Tint

Adjusts the red and green tones, which can be helpful for compensating for fluorescent lighting or improving natural tone such as skin and greenery. Ranges between –100 (less green) and 100 (more green).

Phantasm Temperature/Tint Example

The AG Block Shadow live effect does not have a modal parameters dialog, but is instead edited using either the AG Block Shadow tool (for many parameters) or its panel (for complete control over all its parameters). The AG Block Shadow panel can be shown and hidden using the menu item found in the main menu at Window > Astute Graphics > AG Block Shadow. When at least one selected object has the AG Block Shadow live effect applied, the panel controls will update to reflect the parameters of those effects, which can then be edited. A value field which is blank or (for checkboxes) with a dash indicates that the parameter has different values in the selection. These can be unified (made the same) by entering a new value.

AG Block Shadow Panel

1. Flyout menu

See AG Block Shadow Panel: Flyout Menu.

2. Panel banner

The help button on the right opens the help documentation in the Astute Manager. If this does not automatically appear, please ensure your Astute Manager is running first.

3. Type

This control is only visible when the panel is in advanced mode (the panel flyout menu item Show Advanced Parameters has been chosen, or an AG Block Shadow effect using one of those advanced parameters is in the current selection). The radio buttons allow a choice between a Standard block shadow (specified by length and angle) and a Vanishing Point block shadow, which is specified through the coordinates of the vanishing point, the point to which the shadow appears to converge.

AG Block Shadow Type Example

Shadows can be freely converted between Standard and Vanishing Point, except when a Standard shadow has a Scale value of 100%, since this would imply a vanishing point at infinite distance. The advantage of a Vanishing Point type shadow is that the shadow’s point of convergence remains the same even if the object or objects to which the effect is applied are subsequently moved.

AG Block Shadow Standard vs. Vanishing Point

Tip: To move an object with a Vanishing Point type shadow and also move its vanishing point, convert the shadow to Standard type, move the object, and then convert back to Vanishing Point.

4. Length

For Standard type shadows, the nominal length of the shadow (distance from the edge of the object to the edge of the shadow, in the direction of the shadow). The default value is 72 pt. The length parameter is equal to the actual shadow length only when the shadow has no gap and the scale is set to 100%. Otherwise, the actual length may vary.

AG Block Shadow Length Comparison

5. Angle

For Standard type shadows, the angle of the shadow, specified using the normal Illustrator angle convention (to the right is 0°, with positive values going counterclockwise). The default value is –45°.

6. Scale

Specifies the relative size of the shifted shape that forms the end of the shadow, from 0% to 10000%. Scaling is done from the center of the shifted shape’s bounding box. Vanishing Point type shadows cannot have the default scale value of 100%, since this would imply a vanishing point located at infinite distance.

7. Gap

When enabled, a gap is left between the source object and its shadow. The size of the gap is specified as a percentage, which is relative to the length of the entire shadow.

AG Block Shadow Gap Examples

8. Shadow Strokes

When enabled, shadows are cast using not only object’s stroke, but also its fill.

AG Block Shadow Strokes

If the stroke is dashed, shadows will be cast from each dash, as expected (but the final shadow will still be united into a single path or compound path). If a path has a stroke but no fill, then when Shadow Strokes is enabled, the shadow will be produced only from the stroke.

9. Shadow Color

The color of the shadow, unless Shadow Adopts Artwork Fill Color is enabled. Clicking the color chip will bring up the standard color picker dialog. To fill a shadow with a gradient or pattern, see the parameter Shadow Adopts Artwork Fill Color. The default Shadow Color is black.

10. Blending Mode

Specifies the blending mode of the shadow, from among the standard sixteen Illustrator blending modes. The default is Normal blending mode.

11. Opacity

Specifies the opacity of the shadow (100%, by default).

12. Shadow Adopts Artwork Fill Color

When enabled, the shadow’s color will be taken from the fill of the artwork, including gradients and patterns. If there are multiple fills, then the first one in the Appearance stacking order is used (unless the live effect is placed inside a fill, in which case that fill is used). When applied to text with differently-colored glyphs, the color of the last glyph is used. If the object has no fill, then the color is taken from the Color parameter, just as if Shadow Adopts Artwork Fill Color were not enabled.

AG Block Shadow Adopt Fill Color

13. Fill-Level Shadow Replaces Fill

This control is only visible when the panel is in advanced mode (the panel flyout menu item Show Advanced Parameters has been chosen, or an AG Block Shadow effect using one of those advanced parameters is in the current selection). When enabled, and an AG Block Shadow effect has been put inside a fill in the Appearance panel, the fill from which the shadow is created is itself suppressed in the appearance. This is generally desirable unless using a block shadow with a gap because the shadow itself will also include the fill area, and an extra copy could cause undesirable results when combined with other live effects such as Boolean operations or blurs.

14. Apply Button

Click to apply the AG Block Shadow live effect to the selected artwork, with the parameters set as they currently exist in the panel. If the button is not available, then either nothing is selected or the selection already contains at least one object with an AG Block Shadow effect. If the button is clicked with Shift pressed, the shadow will be added and immediately detached, essentially creating it as editable artwork rather than as a live effect. However, this loses the ability to preview the effect first.

The AG Block Shadow panel flyout menu items are contextually sensitive and all items may not be available, depending on the current selection.

AG Block Shadow Panel Flyout Menu

1. Detach All Selected AG Block Shadows

Changes the shadows created by all AG Block Shadow live effects in the selection into editable artwork, and removes the effect from the appearance(s). This is similar to using the native menu command Object > Expand Appearance, but is more flexible because it leaves the existing artwork (and other live effects which may be present) intact.

2. Remove All Selected AG Block Shadows

Removes any AG Block Shadow live effects from the selection. (This can be done from the Appearance panel as well, but not if multiple AG Block Shadow effects are present with different parameters. In that case, the Appearance panel will simply display “Mixed Appearances” and the ability to select the live effect and delete it will no longer be available.)

3. Select Objects With Same Vanishing Point

Available if a single art object with a Vanishing Point type AG Block Shadow is selected. The menu item will select all other objects with an AG Block Shadow effect that has the same vanishing point coordinates. Different coordinates may then be entered on the panel, moving the vanishing point of all the objects together (this can also be done with the AG Block Shadow tool).

4. Reset Warning Dialogs

If one or more of AG Block Shadow’s warning dialogs (for example, the one shown when trying to use the AG Block Shadow tool in Pattern Editing Mode) have been suppressed using the Don’t show again checkbox, clicking this button will re-enable them.

5. Show Advanced Parameters

The Standard/Vanishing Point type controls and the Fill-Level Shadow Replaces Fill checkbox control are considered advanced parameters, and can be shown or hidden on the panel using this menu item. When the controls are visible, the menu item will change to Hide Advanced Parameters. If one or more objects in the current selection containing an AG Block Shadow effect that is Vanishing Point type or has Fill-Level Shadow Replaces Fill enabled, the advanced controls will automatically be shown so that the effect(s) can be properly edited.

6. AG Block Shadow Preferences...

Brings up the preference dialog (see AG Block Shadow: Preferences).

7. Save Settings...

Captures all of the current parameter settings on the panel to a file, which can be instantly recalled later (either in the current file session or a later one). A dialog will appear through which the file name may be specified.

8. Manage Settings...

Brings up a dialog through which existing settings files may be renamed or deleted:

AG Block Shadow Manage Settings Dialog

A. Settings List: Shows all user-saved settings. One or more settings files can be selected for use with the buttons at the bottom of the dialog by clicking on them in the list, with Shift pressed to select contiguously or Command/Ctrl pressed to select discontiguously, as normal.

B. Rename Button: If a single settings file is selected, allows it to be renamed, through a separate dialog. If the Cancel button is used, the original names will be restored.

C. Delete Button: Removes the selected settings file(s). The files are not permanently deleted until the OK button is clicked.

9. Settings Files

User-defined settings will appear below the built-in [Default Settings] menu item. Choosing a settings menu item will load the panel with the settings it had when the file was saved; the AG Block Shadow effects in any selected art will be updated to match.

The AG Offset tool appears in Illustrator’s main toolbar (which must be in Advanced mode: View > Toolbars > Advanced), stacked under the Stylism tool. As with other stacked tools, click and hold on the top tool icon to display the tools stacked under it.

AG Offset Tool Location

The AG Offset tool’s cursor is a crosshair, except when previewing a new offset or adjusting an existing offset, in which case it appears as an arrowhead with a small group of parallel lines:

AG Offset Tool Cursors

As the AG Offset tool has many keypresses for certain operations, we suggest installing the free Astute Graphics plugin Astute Buddy, which creates a panel that dynamically updates to inform you of the various keys which can be pressed in the tool’s current context.

The AG Offset tool is works in conjunction with the associated AG Offset panel, which generally should be open and accessible. If you are using the free Astute Graphics plugin DirectPrefs, you can have the AG Offset panel automatically be shown when the AG Offset tool is selected.

The AG Offset tool offers a graphical method for both adding and editing AG Offset live effects.

When the tool is hovered close to or over an art object that can accept an AG Offset effect (but does not currently have one), it will automatically preview the offset as it would generally appear using the current panel parameters. The art does not need to be selected. The type of preview depends on the tool preference settings; the default preview is a full one, showing a complete trace of each offset path in the specified color (red by default, but can be changed). Previews are based on the shape of the base artwork, and will not reflect any existing live effects that might change that shape.

AG Offset Tool Preview

By default, annotated text by the cursor will show the offset’s distance (abbreviated as “D:”, or “DT:” if the Total parameter is enabled) and the step count. Easing, if enabled, will also be indicated. These annotations can be temporarily hidden by holding down the Option/Alt key. Clicking will add the offset effect to the art object (always placing the live effect below all strokes and fills in the object’s appearance), or the offset can be dragged first to adjust it in the same way an existing offset would be edited (see Editing Existing Offsets).

AG Offset Tool Click Apply

By default, the AG Offset tool creates previews of shadows for any artwork it is over, selected or not,
so care should be taken not to pass it inadvertently over unlocked artwork with high numbers of path segments, such as large blocks of text or objects with expanded Phantasm Halftone or Stipple effects, because calculating the offsets for these objects can take some time. In addition to keeping such art on locked layers, the preference Operate On Selected Objects Only limits the hover preview to selected objects only (see AG Offset: Preferences). If the AG Offset cursor is passed over an unlocked text object containing many characters, a warning dialog will be displayed:

AG Offset Lengthy Text Object Warning

Click Abort unless you are sure you want to put the effect on the text object and are prepared to wait.

When the tool is hovered close to or over an existing offset path or the original object, the existing AG Offset live effect can be edited with the tool. By default, the cursor will show the distance/steps annotations, unless these have been disabled. Dragging with the tool changes the distance parameter. When the AG Offset has multiple steps, only one of the offset paths is kept under the cursor. When the Total parameter is enabled, the last offset is kept under the cursor; otherwise the first offset is kept under the cursor.

AG Offset Tool Drag Edit

While dragging to edit an AG Offset effect, a number of keypresses may be used:

• Option/Alt: Constrains the distance parameter to “nice” values (integers, at 400% zoom or less).

• Up Arrow/Down Arrow: Increments or decrements the Step parameter.

• Left Arrow/Right Arrow: Changes the Easing parameter by 1%.

• 1–9: Sets the Easing parameter to 10% through 90% respectively.

• A: Toggles the annotation readout on or off.

• B: Toggles the Both Sides parameter on and off.

• C: Changes the preview color, cycling through red, blue, magenta, green, black and grey.

• D: Sets all parameters to their default values.

• E: Toggles the Easing parameter on and off.

• G: Toggles the Treat Groups As Compound Shapes parameter on and off.

• L: Toggles the loops mode between Invert and Cut.

• Q: Toggles the offset preview type between Full and Fast (see AG Offset: Preferences).

• R: Available if the Step count is set to 2 or more. Toggles the Randomize Distances parameter on and off.

• T: Available if the Step count is set to 2 or more. Toggles the Total parameter on and off.

• U: Temporarily disables Smart Guides, if they were enabled when the drag started.

The AG Offset tool works on a single offset effect at a time, and at the highest group level. In other words, if an object is given an offset, and then grouped with another object, then normally the tool will not be able to edit the offset that is inside the group, but will instead offer to add a new offset at the group level. To edit the inner offset, either isolate the grouped object (in which case the tool can be used) or edit the offset numerically using the panel. To edit multiple offsets simultaneously, use the panel.

The AG Offset live effect does not have a modal parameters dialog, but is instead edited using either the AG Offset tool (for many parameters) or its panel (for complete control over all its parameters). The AG Offset panel can be shown and hidden using the menu item found in the main menu at Window > Astute Graphics > AG Offset. When at least one selected object has the AG Offset live effect applied, the panel controls will update to reflect the parameters of those effects, which can then be edited. A value field which is blank or (for checkboxes) with a dash indicates that the parameter has different values in the selection. These can be unified (made the same) by entering a new value.

AG Offset Panel

1. Flyout menu

See AG Offset Panel: Flyout Menu.

2. Panel banner

The help button on the right opens the help documentation in the Astute Manager. If this does not automatically appear, please ensure your Astute Manager is running first.

3. Distance

Specifies the base offset distance. When more than one offset is being created (i.e., the number of Steps is set to 2 or higher), the Total checkbox controls whether the value represents the total of all offsets or the value of each offset. Easing and Randomize Distance, if enabled, will affect the final actual offset distances. Positive values represent outwards offsets (for closed paths); or offsets to the righthand side of the path (for open paths, in relation to the direction of the path).

AG Offset Distance Example

4. Both Sides Button

When toggled to the enabled state (dark), the path(s) will be offset both inwards and outwards.

AG Offset Both Sides Example

5. Corner Type

The type of corner to use when offset outwards from a sharp corner on a path, from among the three standard Illustrator corner types (Mitered, Rounded, and Beveled). When set to Mitered, the Miter Limit may be specified.

AG Offset Corner Types

6. Positioning

Specifies the position of the offset paths in relation to the original path, from among Above Original, Replace Original, or Below Original.

7. Steps

The number of offsets to make, from 1 to 999 (if the Both Sides setting is enabled, the value applies to each side independently).

8. Loops

This setting is only applicable when there are loops in open paths into which the offset path cannot fit. It specifies the method used to deal with such loops. The default value is Invert, where the offset path runs on the opposite side of the loop, but can be changed to Cut, in which case the loop is “cut” from the path, essentially ignoring it.

AG Offset Loop Handling

9. Easing

When multiple steps are used, Easing causes them to become progressively larger (for values less than 50%) or progressively smaller (for values larger than 50%). In both cases, the Distance value applies to the first offset only.

AG Offset Easing Example

10. Randomize Distances

When enabled, distances between multiple offsets are randomly changed. The specified value (from 1 to 100) controls how much variation is allowed, where 100 is maximum variation.

AG Offset Randomize Example

11. Seed

Each random seed number leads to a different sequence of random values. Clicking the button picks a new seed, thereby changing the look of the artwork. To view or specify the seed number directly, Option/Alt-click the button. This lets you recreate a previously-generated look.

12. Alter Opacity

When enabled, the opacity of the offset path is changed to the specified value. If multiple offsets are being used, their opacities are linearly blended between the opacity of the original art and the specified value. For example, if the original art had 100% opacity and the Alter Opacity value was set to 50%, and Steps was set to 4, then the offset paths would have opacities of 88%, 75%, 63%, and 50%.

13. KO [Knockout] Group

When enabled, this setting keeps multiple, partially-transparent offset paths from being transparent to each other, just as the Knockout Group setting on the native Transparency panel does.

AG Offset Knockout Group Example

14. Stroke

When the AG Offset live effect is located below the fill and strokes of the artwork in the Appearance panel, this pulldown menu specifies how the stroke of the offset path should be handled:

• Retain means the stroke (if any) will be simply be taken from the original path.

• Remove means the offset paths will have no stroke, even if the original path had one.

AG Offset Stroke Retain and Remove

Alter Color means the offset path (if it has a stroke), will have its stroke color changed. There are two methods for doing so, specified by the pulldown menu that will become active. When set to Blend Original To, the last offset will have its color changed to the specified color (clicking the color chip allows changing the color using the standard Color Picker); if there are multiple offset paths, the paths will take colors which blend from the original stroke color to the specified color. When set to Pick From Gradient, the stroke colors of the offset paths will be taken from the specified gradient, with the first path corresponding to the color at the start of the gradient and the last offset path corresponding to the color at the end of the gradient.

AG Offset Stroke Alter Color

Alter Weight means the offset path (if it has a stroke), will have its stroke weight changed to the specified value. If there are multiple offset paths, the paths’ strokes will be assigned weights which blend from the original stroke weight to the specified weight.

Alter Both allows changing both the color (as per Alter Color) and weight (as per Alter Weight) of the offset paths’ strokes.

Force means the color and weight of the offset path’s stroke will be set to whatever is specified, regardless of the original path’s style. This is useful for adding a stroked outline to fill-only art without having to add a stroke to the art and moving the AG Offset live effect inside the stroke with the Positioning set to Replace Original.

15. Fill

When the AG Offset live effect is located below the fill and strokes of the artwork in the Appearance panel, this pulldown menu specifies how the fill of the offset path should be handled:

• Retain means the fill (if any) will be simply be taken from the original path.

• Remove means the offset paths will have no fill, even if the original path had one.

Alter Color means the offset path (if it has a fill), will have its fill color changed. There are two methods for doing so, specified by the pulldown menu that will become active. When set to Blend Original To, the last offset will have its color changed to the specified color (clicking the color chip allows changing the color using the standard Color Picker); if there are multiple offset paths, the paths will take colors which blend from the original fill color to the specified color. When set to Pick From Gradient, the fill colors of the offset paths will be taken from the specified gradient, with the first path corresponding to the color at the start of the gradient and the last offset path corresponding to the color at the end of the gradient.

Force means the color of the offset path’s fill color will be set to whatever is specified, regardless of the original path’s style.

AG Offset Fill Options

16. Treat Groups As Compound Shapes

When enabled, and the effect is applied to a group (or art that is internally expanded into a group within the effect stack, such as live text), the offset paths are created as if the members of the group were united into a single compound shape:

AG Offset Treat Groups as Compound Shapes

17. Apply Button

Click to apply the AG Offset live effect to the selected artwork, with the parameters set as they currently exist in the panel. If the button is not available, then either nothing is selected or the selection already contains at least one object with an AG Offset effect. If the button is clicked with Shift pressed, the offset paths will be added and immediately detached, essentially creating them as editable artwork rather than as a live effect. However, this loses the ability to preview the effect first.

AG Splatter is an Astute Graphics live effect that adds randomly-generated splatter or spatter type objects along the paths of the art to which it is applied. A panel interface allows adjustment of many parameters, such as the splatters’ shape, angle, offset, and more. AG Splatter is part of the Stylism plugin.

AG Splatter Example

As with most live effects, AG Splatter appears in the main menu, under Effect > Stylism > AG Splatter. It can also be applied directly from the Appearance panel using the “Add New Effect” button at the bottom of the panel. However, the easiest way to apply the live effect is using the Apply button on the AG Splatter panel. 

The AG Splatter live effect does not have a modal parameters dialog, but is instead edited using a panel, which can be shown and hidden using the menu item found in the main menu at Window > Astute Graphics >AG Splatter. When at least one selected object has the AG Splatter live effect applied, the panel controls will update to reflect the parameters of those effects, which can then be edited. A value field which is blank or (for checkboxes) with a dash indicates that the parameter has different values in the selection. These can be unified (made the same) by entering a new value.

AG Splatter Panel

1. Flyout menu

See AG Splatter Panel: Flyout Menu.

2. Panel banner

The help button on the right opens the help documentation in the Astute Manager. If this does not automatically appear, please ensure your Astute Manager is running first.

3. Density

Controls the relative number of splatter “droplets” that are created along the path; it can range from 0.1% to 99999.9%. A value of 100% (the default) nominally produces 100 droplets along a 1000 pt long straight path, so therefore a Density value of 800% would produce 800. However, as with all parameters, the actual count will randomly fall within a Gaussian (normal) distribution around this value. Additionally, if the path has tight curves and the Curvature Bias parameter is set to a high value, then the count will be increased, potentially by tenfold or even more.

AG Splatter Density Examples

If the Density is set to a value that would produce a very large number of droplets (on the order of 100,000), a warning dialog will be displayed:

AG Splatter Long Processing Time Warning

Pressing the Abort button will stop execution of the live effect, allowing you to lower the Density without waiting for the effect to finish processing. If the Don’t show again checkbox is enabled, the dialog can be re-enabled using the Reset Warning Dialog menu item in the panel’s flyout menu. 

4. Size

Controls the approximate size of the splatter droplets. However, splatter Size is not absolute but randomly assigned and also dependent on both the throw distance and the angle from the path; long distances produce smaller splatters, as do higher angles. Size can vary from 0pt to 500pt, with a default of 6pt. 

AG Splatter Size Examples

5. Throw

Controls the average distance that the splatter droplets are shifted from their point of origin along the path, from 0pt to 1000pt and a default value of 16pt.

AG Splatter Throw Examples

6. Spread

Controls the range in angles that the splatter droplets are “thrown” away from the tangent angle of the path at the point of origin, from 0% to 100% with a default value of 50%. 

AG Splatter Spread Examples

7. Angle

Controls an overall change in the throw angle of the splatter droplets, from –90° to 90° (where positive values rotate the splatters counterclockwise). This can be used to put the splatters more towards one side of a path instead of equally on both sides, which is the default.

AG Splatter Angle Examples

8. Parameter Profile Buttons

Specify how the respective parameter changes as the splatters are created from one end of the path to the other. There are five options:

AG Splatter Parameter Profile Types

When a parameter increases, it moves linearly from zero to the value that is specified, and when it decreases, it does to zero. Thus, for example, an Increasing then Decreasing Size set to 40pt would create splatters with size zero at the start of the path, increase to size 40pt at the midpoint of the path, and then decrease to zero again at the end of the path. The default profile is Constant.

9. Curvature Bias

Specifies how much sharp curves on the path act to increase the number of splatters. A value of 0% means that curved sections of the path are treated no differently from straight sections. Higher Curvature Bias values will make more splatters appear at curved sections of the path, with sharper curves getting more splatters. The default value is 50%.

AG Splatter Curvature Bias Examples

10. Averaging

When Curvature Bias is enabled, Averaging uses a moving average of the path’s curvature rather than its instantaneous value at any spot. This can help stop unwanted high numbers of splatters from being created when effects such as Roughen (which cause the path the bend sharply) are applied above the AG Splatter effect in the Appearance panel. The default setting is on.

AG Splatter Averaging Examples

11. Shape

Controls the mix of splatter droplet shapes, with 0% representing rounded droplets on the left, to 100% representing narrow, teardrop-shaped droplets on the right. The default value is 30%.

AG Splatter Shape Examples

12. Positioning

Specifies the position of the splatter droplets in relation to the original path, from among Above Original, Replace Original, or Below Original.

13. Style

When the AG Splatter live effect is located below the fill and strokes of the artwork in the Appearance panel, the Style pulldown menu specifies how the fill color and opacity of the created splatter droplets should be determined:

• Use Original means the fill will be simply be taken from the original path (if the original path has no fill, then it is taken from its stroke). This fill can be a flat color, a gradient, or a pattern.

• Specify Color means the fill color of the droplets is specified using the Color control underneath.

• Specify Opacity means the opacity of the droplets is specified using the Opacity control underneath.

• Specify Both means both the fill color and opacity of the droplets are specified using the controls underneath.

14. Color

Available if the Style is set to Specify Color or Specify Both; it specifies the fill color of the splatter droplets. Clicking the color chip will bring up the standard color picker dialog. The default Color is black. 

15. Opacity

Available if the Style is set to Specify Opacity or Specify Both; it specifies the fill opacity of the splatter droplets. Low opacities can be used to create cloud-type effects.

AG Splatter Opacity Examples

16. Seed

Each random seed number leads to a different sequence of random values. Clicking the button picks a new seed, thereby changing the look of the artwork. To view or specify the seed number directly, Option/Alt-click the button. This lets you recreate a previously-generated look.

17. Apply Button

Click to apply the AG Apply live effect to the selected artwork, with the parameters set as they currently exist in the panel. If the button is not available, then either nothing is selected or the selection already contains at least one object with an AG Splatter effect. If the button is clicked with Shift pressed, the splatter droplets will be added and immediately detached, essentially creating them as editable artwork rather than as a live effect. However, this loses the ability to preview the effect first.

The following operation can be recorded and played back as an Action:

1. The menu item Select > AG Splatter Effects.

AG Curvature Visualizer is an Astute Graphics live effect for paths or live text that adds a sequence of abutting thin polygons (the visualization art, or “curvature comb”) along the edge of each path. The polygons are oriented perpendicularly to the convex side of the path, and each polygon’s color reflects the curvature of the path at the spot adjacent to the polygon’s base. While AG Curvature Visualizer can be used for creative purposes, it is most useful in areas such as font design for easily visualizing curvature discontinuities, which generally manifest themselves as “lumpiness” in the curves. A panel interface allows adjustment of several parameters, such as the color, quality, and opacity of the curvature comb. AG Curvature Visualizer is part of the Stylism plugin. 

AG Curvature Visualizer Example

As with most live effects, AG Curvature Visualizer appears in the main menu, under Effect > Stylism > AG Curvature Visualizer. It can also be applied directly from the Appearance panel using the “Add New Effect” button at the bottom of the panel. However, the easiest way to apply the live effect is using the Apply button on the AG Curvature Visualizer panel. 

The AG Curvature Visualizer live effect does not have a modal parameters dialog, but is instead edited using a panel, which can be shown and hidden using the menu item found in the main menu at Window > Astute Graphics > AG Curvature Visualizer. When at least one selected object has the AG Curvature Visualizer live effect applied, the panel controls will update to reflect the parameters of those effects, which can then be edited. A value field which is blank or (for checkboxes) with a dash indicates that the parameter has different values in the selection. These can be unified (made the same) by entering a new value.

AG Curvature Visualizer Panel

1. Flyout menu

See AG Curvature Visualizer Panel: Flyout Menu. 

2. Panel banner

The help button on the right opens the help documentation in the Astute Manager. If this does not automatically appear, please ensure your Astute Manager is running first. 

3. Scale

Controls the overall height of the curvature comb. The curvature along the path is multiplied by the Scale factor to determine the height of each polygon (which may then be changed by the Limit Length setting; also, there is a hard limit of 8000 pt regardless of whether Limit Length is enabled or not, because otherwise the length would go to infinity at cusps, where the radius of curvature goes to zero). As the curvature is the reciprocal of the radius of curvature, it follows that a 50 pt radius circle would have a curvature of 1/50, so if the Scale were set to 1000 (the default), the comb would be 1/50 × 1000 = 20 pt high. Scale may be set from 1 to 10000. 

AG Curvature Visualizer Scale Examples

4. Limit Length

Puts a limit on the length of the polygons that make up the curvature comb. This allows the use of a fairly high Scale value (so areas of low curvature are visible) without making the comb extend well beyond the bounds of the screen at areas of high curvature. When the length is limited using this setting, colors are not affected (as colorization is based on pre-limited length). 

5. Color Scheme

Allows you to specify the colors of the polygons which correspond to the underlying curvatures. The default scheme is green (low curvature) to yellow to red (high curvature). Clicking the preview area will bring up a dialog allowing you to choose an existing eligible gradient to define the color scheme. 

AG Curvature Visualizer Color Scheme Dialog

Color schemes are limited to 8 color stops, so gradients with more than 8 stops are not eligible and will not appear in the list. 

6. Relative/Absolute Mode

Specifies how the colors in the color scheme are mapped to the curvature values of the path. In Relative mode, the start color is mapped to the path’s minimum curvature, and the end color is mapped to the path’s maximum curvature. This makes even small variations in curvature clearly distinguishable (for example, it shows that a circle created from cubic bezier curves actually varies in radius slightly). In Absolute mode, the start color is mapped to zero curvature, and the end color is mapped to the specified scaled curvature. With an appropriate color scheme, this might be useful for identifying areas along a path where the radius of curvature is below a certain threshold. 

AG Curvature Visualizer Relative vs. Absolute

7. Opacity

Specifies the opacity of the curvature comb polygons. 

8. Quality

Controls the number of polygons used to make up the curvature comb. Quality can range from 1 to 10, with a default of 5. Higher values result in smoother color transitions and curved edges, but will be slower because more paths are internally generated. 

AG Curvature Visualizer Quality Examples

9. Positioning

Specifies the position of the curvature comb polygons in relation to the original path, from among Above Original, Replace Original, or Below Original. 

10. Subgroup by Segment

When enabled, the curvature comb polygons along each segment of the path are grouped separately instead of being in a single group. This is useful when the curvature combs overlap each other; setting the Opacity is to something less than 100% will enable you to see the comb sections which are underneath others, as opacity is applied to each group separately. 

AG Curvature Visualizer Subgroup by Segment

11. Apply Button

Click to apply the AG Curvature Visualizer live effect to the selected artwork, with the parameters set as they currently exist in the panel. If the button is not available, then either nothing is selected or the selection already contains at least one object with an AG Curvature Visualizer effect. If the button is clicked with Shift pressed, the curvature comb polygons will be added and immediately detached, essentially creating them as editable artwork rather than as a live effect. However, this loses the ability to preview the effect first. 

AG Corners is an Astute Graphics live effect for paths that improves the native “Round Corners” effect, by allowing for the rounding of points adjacent to curved segments without distorting them, by implementing the different corner types and methods found in the Dynamic Corners panel, and by allowing different corner types on the outside and the inside corners. AG Corners is part of the VectorScribe plugin.

As with most live effects, AG Corners appears in the main menu, under Effect > VectorScribe. It can also be applied directly from the Appearance panel using the “Add New Effect” button at the bottom of the panel.

AG Corners Parameters Dialog

After applying the live effect using the menu item (or when clicking on the existing effect in the Appearance panel to edit it), the parameters dialog will appear:

AG Corners Parameters Dialog

1. Outside Corners Radius

The radius of each outside corner. “Outside” is only defined for closed, non-intersecting paths, and means a corner which has its concave side on the interior of the path. If a corner cannot accommodate the specified radius, its radius will be made as large as possible. Corners cannot extend past the next anchor point along the path in either direction, so sometimes placing a Smart Remove Points live effect before the AG Corners effect can fix issues where additional anchor points have been inadvertently added by effects such as AG Offset.

AG Corners Blocked Corners Example

2. Outside Corners Type

Specifies the type of outside corners, either Regular (curve facing outwards), Negative (curve facing inwards), or Chamfered (a straight line cutting across the corner).

3. Outside Corners Method

For curved corners (Regular and Negative), specifies the method used to draw the corner.

AG Corners Method Example

True Radius method corners are created with one or two circular segments and maintain a constant radius as closely as is possible using the cubic bezier curves with which all Illustrator paths are constructed.

Standard method corners are the type that the native “Round Corners” live effect creates. When placed on a right angle, they are identical to True Radius corners, but at other angles they are of non-constant radii, the values of which vary substantially from the nominal radius value. They are useful for certain shapes which tend to look incorrect with True Radius corners:

AG Corners Standard corner example

Squircular method corners approximate the “Squircle” curve popularized by Apple. A squircle is a blend between a square and a circle. These non-constant-radius corners feature a smoother transition between the curved section and the straight section of path, and are most useful on the right angles of squares and rectangles. A Squircular corner of the same nominal radius as a True Radius corner will look smaller due to its changing curvature.

4. Inside Corners Treatment

Specifies whether inside corners use the same parameters as outside corners or whether they have their own, independent parameters. In the latter case, the same three parameters are available as with outside corners. “Inside” is only defined for closed, non-intersecting paths, and means a corner which has its concave side on the exterior of the path.

AG Corners Inside and Outside Corner Example

5. Inside Corners Radius

Available when inside corners are treated independently. It is the same as Outside Corners Radius, but for inside corners only.

6. Inside Corners Type

Available when inside corners are treated independently. It is the same as Outside Corners Type, but for inside corners only.

7. Inside Corners Method

Available when inside corners are treated independently. It is the same as Outside Corners Method, but for inside corners only.

8. Preview

As with all live effects, when enabled, changing a parameter will immediately update the artwork while the dialog is still open.

Add Points is an Astute Graphics live effect for paths that adds anchor points to paths, similar to the functionality of the “Add Points” function of the PathScribe panel. By itself, adding points is not particularly useful, as the look of the art won’t change; the real power comes by stacking the live effect with other live effects that operate on or depend on anchor point placement.

As with most live effects, Add Points appears in the main menu, under Effect > AG Utilities. It can also be applied directly from the Appearance panel using the “Add New Effect” button at the bottom of the panel.

Add Points Parameters Dialog

After applying the live effect using the menu item (or when clicking on the existing effect in the Appearance panel to edit it), the parameters dialog will appear:

Add Points Parameters Dialog

1. Targeted Segments

By default, all segments in the path have points added to them, but this can be changed to First, Last, Even Only, Odd Only, Curved Only, or Straight Only segments. Even and odd refer to the index number of the segment, which starts at zero for the first segment in the path.

2. Equal Spacing Mode

In this mode, points are added such that the space between them (as measured along the path) is equal.

3. Bezier Spacing Mode

In this mode, points are added such that the cubic bezier t parameter is equally spaced. Generally, this adds more points to areas along the segment which are more tightly curved.

4. Number of Points

For Equal Spacing and Bezier Spacing modes, specifies the number of points to add along each segment.

AG Utilities Live Effects - Add Points Equal or Bezier Spacing

5. Distance Spacing Mode

In this mode, points are added equally spaced along the path with the distance specified, adding as many as will fit along the segment unless Limit Number of Points is also enabled.

6. Distance Value

The distance between the added points when using Distance Spacing mode. If the distance value is greater than the segment’s length, no points will be added to the segment.

7. Center Within Segment

In Distance Spacing mode, causes the added points to be centered within the segment, so the distances from the segment’s ends to the first or last added point will be equal (but may not match the specified distance).

8. Limit Number of Points

In Distance Spacing mode, specifies the maximum number of points to add along each segment.

AG Utilities Live Effects - Add Points Distance Spacing

9. Retain Straight Segment Handles

Normally, when anchor points are added to a handleless straight segment, the new points have their handles removed. However, enabling this setting causes the handles to be retained, which can be useful when the new anchor points are subsequently moved and a smooth curve is desired.

10. New Points Are Corner Type

Forces the added points to have corner type rather than smooth. This does not change any handles that the point might have, only the point type.

11. Randomize

Allows for random variation in the count and/or position of the new points.

12. Distribution Curves

Specifies either a linear distribution in random values (all values in the range are equally likely to be chosen) or a Gaussian distribution (central values in the range are more likely to be chosen).

13. Seed

Each random seed number leads to a different sequence of random values. Clicking the button picks a new seed, thereby changing the look of the artwork. To view or specify the seed number directly, Option/Alt-click the button. This lets you recreate a previously-generated look.

14. Count Variation

Specifies the random variation in the added point count (valid for Equal Spacing and Bezier Spacing modes only). For example, if the count is set to 20, then a variation value of 25% would produce count values that vary by as much as 20 × 25% = 5, that is, between 16 and 20; a variation value of 100% would produce count values between 1 and 20.

15. Position Variation

Specifies the random variation in the final positions of the added points.

16. Preview

As with all live effects, when enabled, changing a parameter will immediately update the artwork while the dialog is still open.

17. Annotate New Point Positions

When enabled, the positions of the added points will be temporarily displayed using magenta dot annotations, which is useful if subsequent live effects have not been added to the artwork yet, because by itself, Add Points will produce no visual change to the art.

18. Help Button

Opens the help documentation in the Astute Manager. If this does not automatically appear, please ensure your Astute Manager is running first.

Convert to Smooth is an Astute Graphics live effect for paths that changes the anchor points in the artwork to smooth type, automatically adding and adjusting handles where needed.

As with most live effects, Convert to Smooth appears in the main menu, under Effect > AG Utilities. It can also be applied directly from the Appearance panel using the “Add New Effect” button at the bottom of the panel.

Convert to Smooth Parameters Dialog

After applying the live effect using the menu item (or when clicking on the existing effect in the Appearance panel to edit it), the parameters dialog will appear:

Convert to Smooth Parameters Dialog

1. Smoothing Ratio

Controls the lengths of any newly-generated handles. The smoothing ratio can range from 0.01 to 0.5, with values between 0.3 and 0.4 generally give the smoothest looking curves; a value of 0.3905 will convert a square to a circle.

AG Utilities Live Effects - Convert to Smooth Ratios

2. Handleless Points Only

When enabled, only anchor points that have no handles will be converted to smooth points with new handles.

3. Preview

As with all live effects, when enabled, changing a parameter will immediately update the artwork while the dialog is still open.

4. Help Button

Opens the help documentation in the Astute Manager. If this does not automatically appear, please ensure your Astute Manager is running first. 

Dashify is an Astute Graphics live effect for paths that breaks them into multiple segments that, if stroked, have the same look as native dashes. But unlike native dashes, when a path with Dashify is expanded, each dash is converted to a short, open section of a compound path rather than an outlined, filled and closed path. Additionally, Dashify supports five independent lengths for pairs of dashes and gaps, an additional alignment mode for open paths, and randomization options.

As with most live effects, Dashify appears in the main menu, under Effect > AG Utilities. It can also be applied directly from the Appearance panel using the “Add New Effect” button at the bottom of the panel.

Dashify Parameters Dialog

After applying the live effect using the menu item (or when clicking on the existing effect in the Appearance panel to edit it), the parameters dialog will appear:

Dashify Parameters Dialog

1. Align Dashes to Corners and Path Ends

When enabled, dashes are aligned in the same manner as the native dashes are aligned using the native Stroke panel’s “Align” button. This may cause the absolute size of each dash and gap to be changed slightly.

2. Use Alternate Algorithm for Open Paths

Available when Align Dashes to Corners and Path Ends is enabled. When enabled, dashes are aligned such that each end of the open path gets a full dash rather than the half-dash that the native algorithm produces. Interior corners will be ignored for alignment purposes.

AG Utilities Live Effects - Dashify Alignment

3. Always End on First Dash

Available when the Alternate Algorithm for Open Paths is being used. When enabled, the dashed path will not only start with the first dash in the pattern but will also end with it:

AG Utilities Live Effects - Dashify Alignment (Always end on first dash)

4. Dash Offset

Shifts the starting position of the dash pattern along the path. Positive values move the pattern in the path’s direction while negative values move it in the opposite direction. Dash Offset is not available when Align Dashes to Corners and Path Ends is enabled.

AG Utilities Live Effects - Dashify Dash Offset

5. Dashes and Gaps

As per the native Stroke panel, specifies the length of the dashes and gaps. Supports up to five pairs of values, (compared to three for the native panel). When using zero as a gap length, the path will still be broken into dashes; each will touch its neighbours. Zero can be useful as a dash length when combined with round end caps: it produces circular dots.

6. Randomize

Allows randomization of the lengths of the dashes and/or the gaps. Randomization is not available when Align Dashes to Corners and Path Ends is enabled.

7. Distribution Curves

Specifies either a linear distribution in random values (all values in the range are equally likely to be chosen) or a Gaussian distribution (central values in the range are more likely to be chosen).

8. Seed

Each random seed number leads to a different sequence of random values. Clicking the button picks a new seed, thereby changing the look of the artwork. To view or specify the seed number directly, Option/Alt-click the button. This lets you recreate a previously-generated look.

9. Dash Length Variation

Specifies the random variation in the length of each dash. For example, if a dash’s length is set to 20 pt, then a variation value of 25% would produce lengths that vary by as much as 20 pt × 25% = 5 pt, that is, between 15 pt and 20 pt; a variation value of 90% would produce lengths between 2 pt and 20 pt.

10. Gap Length Variation

As per Dash Length Variation, but for gaps.

AG Utilities Live Effects - Dashify Randomization

11. Preview

As with all live effects, when enabled, changing a parameter will immediately update the artwork while the dialog is still open.

12. Help Button

Opens the help documentation in the Astute Manager. If this does not automatically appear, please ensure your Astute Manager is running first.

Extend Path is an Astute Graphics live effect for open paths that allows them to be extended (lengthened) or shortened. Extension can be made using four different methods, and randomization options are available.

As with most live effects, Extend Path appears in the main menu, under Effect > AG Utilities. It can also be applied directly from the Appearance panel using the “Add New Effect” button at the bottom of the panel.

Extend Path Parameters Dialog

After applying the live effect using the menu item (or when clicking on the existing effect in the Appearance panel to edit it), the parameters dialog will appear:

Extend Path Parameters Dialog

1. Extend Start of Path

Each end of the open path can be independently affected. The top section of the dialog pertains to the start of the path.

2. Absolute/Relative

Specifies whether the extension length is an absolutely-specified value (for example, 24 pt) or a value relative to the path length (for example, 50%, which would make the path 1.5 times as long as it was originally).

3. Copy Value button

Allows you to pick up all the parameters from the section of the dialog for the opposite end of the path, in cases where both ends of the path must be extended in the same manner.

4. Length

The amount that the path will be extended or shortened. In Relative mode, the value is interpreted as a percentage of the original path length. Negative values will result in the path being shortened instead of extended.

5. Extend As

The type of extension (ignored when shortening a path).

Bezier Extension

In Bezier extension mode, no additional anchor points are added to the path. Instead, the cubic bezier curve that comprises the path segment being extended is simply expanded. Due to the mathematics of cubic beziers, this may lead to situations where the curve turns in unexpected directions or even reverses direction at a cusp point if the original bezier had only a single handle.

Constant Radius Extension

In Constant Radius extension mode, the path is continued as a circular arc of constant radius. The radius value itself depends on which radius mode is active (see Radius Mode).

Straight Extension

In Straight extension mode (the default), the path is continued as a simple straight line.

Spiral Extension

In Spiral extension mode, the path is continued as a logarithmic spiral with the specified winding constant. Lower winding constants make the spiral’s radii become smaller more quickly.

AG Utilities Live Effects - Path Extension Types

6. Specify Angle

Applicable with Straight extensions only; when enabled, the straight extension of the path will not be made at the original angle of the end of the path, but at the specified angle.

7. Specify Angle Mode

When specifying the straight extension angle, you can choose between an absolute angle or an angle that represents the change in angle (“Difference”) between the end of the path and the extension.

8. Specify Angle Value

The final angle, either as an absolute value or as a difference in angles.

9. Flip by 180 Degrees

The final angle is flipped by 180 degrees.

10. Extend End of Path

All controls are identical to the “Start of Path” section, but control the other end of the path.

11. Plus Value

For Relative mode extensions, allows an absolute value to be added to the relative value.

12. Limit Curvature

For Constant Radius and Spiral extensions, limits the length of the extension based on the amount of path bend.

13. Limit Curvature Value

The maximum amount of path bend (in degrees), regardless of length.

14. Radius Mode

For Constant Radius and Spiral extensions, one of the following: Match Radius Mode (the radius value will match the existing radius at the end of the path); Scaled Radius Mode (the radius value will be taken from the existing radius multiplied by the scale value); or Fixed Radius Mode (the radius value will be equal to the specified fixed value).

AG Utilities Live Effects - Extend Path Radius Modes

15. Radius Value

For Scaled and Fixed modes, the scale factor or fixed value.

16. Reverse Curvature

Normally the curvature of the extension is in the same direction as the existing path; Reverse Curvature makes the extension curve in the opposite direction.

17. Randomize

Allows randomization of several parameters, including length, radius, and the probablity of reverse curvature. Randomization is most useful when applying the Extend Path effect to a group of many paths, or in an effect stack in which a previous effect breaks a single path into multiple pieces, like Dashify.

18. Distribution Curves

Specifies either a linear distribution in random values (all values in the range are equally likely to be chosen) or a Gaussian distribution (central values in the range are more likely to be chosen).

19. Seed

Each random seed number leads to a different sequence of random values. Clicking the button picks a new seed, thereby changing the look of the artwork. To view or specify the seed number directly, Option/Alt-click the button. This lets you recreate a previously-generated look.

20. Length Variation

Specifies the random variation in the length of the extension. For example, if the length is set to 20 pt, then a variation value of 25% would produce lengths that vary by as much as 20 pt × 25% = 5 pt, that is, between 15 pt and 20 pt; a variation value of 90% would produce lengths between 2 pt and 20 pt.

21. Length Step

Constrains each final extension length (after randomization) to multiples of the specified step value while still remaining in the original range. For example, if the extension length is set to 24 pt with a random variation of 50%, then normally values of 12 to 24 pt would be produced. But enabling Step with a value of 5 pt would result in only values of 15 pt and 20 pt.

AG Utilities Live Effects - Extend Path Randomization

22. Radius Variation

For Constant Radius and Spiral extensions, similar to Length Variation but affects the final radius value.

23. Reverse Curvature Inversion Probability

For Constant Radius and Spiral extensions, specifies the probability that the reverse curvature setting (when enabled) will be inverted to the opposite value.

24. Preview

As with all live effects, when enabled, changing a parameter will immediately update the artwork while the dialog is still open.

25. Help Button

Opens the help documentation in the Astute Manager. If this does not automatically appear, please ensure your Astute Manager is running first. 

Make Compound Path is an Astute Graphics live effect with one simple function: to turn multiple paths into a single compound path. It has no parameters.

As with most live effects, Make Compound Path appears in the main menu, under Effect > AG Utilities. It can also be applied directly from the Appearance panel using the “Add New Effect” button at the bottom of the panel.

The Make Compound Path effect is mainly useful when followed by a native PathFinder effect such as “Intersect”. For example, if a group of four circles has an “Intersect” effect applied, normally nothing happens. But if it is preceded by Make Compound Path, then the Boolean operation works as expected:

AG Utilities Live Effects - Make Compound Path

Make Shape is an Astute Graphics live effect that creates paths which are basic geometric shapes from the artwork to which it is applied. In its basic form it is similar to the native “Convert to Shape” effect, but it includes many more parameters and options, such as the ability to place the shapes above or under the original artwork, the ability to change the alignment, and angle of the shape, and the ability to place multiple copies of shapes along paths. Randomization options are also included.

As with most live effects, Make Shape appears in the main menu, under Effect > AG Utilities. It can also be applied directly from the Appearance panel using the “Add New Effect” button at the bottom of the panel.

Make Shape Parameters Dialog

After applying the live effect using the menu item (or when clicking on the existing effect in the Appearance panel to edit it), the parameters dialog will appear:

Make Shape Parameters Dialog

1. Shape Type

The type of shape to create, from among: Arc, Circle, Ellipse, Half-Circle, Line, Polygon, Rectangle, Rounded Rectangle, Square, Star, and Triangle. Depending on the type of shape selected, other parameter controls in the dialog may be hidden or changed.

2. Positioning

The position of the shape relative to the original artwork. It can replace the original (the default), or go above or below it.

3. Sides

Some of the shape types (Arc, Circle, Ellipse, Half-Circle, Polygon, and Star) allow the number of sides (anchor points for rounded shapes; points for stars) to be specified, from 3 to 1000. For Stars, an additional control will appear that lets you force the star to be “Regular” (this locks the ratio of its inner diameter to its outer diameter).

4. Location

Where to place the shape(s). The default, similar to the native “Convert to Shape” effect, is relative to the bounding box of the original artwork (note that Make Shape uses the outlines of live text to directly determine its bounding box). Other options (each will add parameter-specific controls alongside the popup menu) include:

Along Path (Once)

AG Utilities Live Effects - Make Shape Along Path Once

The shape is placed once along each path at the specified path length fraction (0 to 100%), where 0% indicates the start of the path and 100% indicates the end of the path; for closed paths, 0% and 100% refer to the same spot.

Along Path (By Count)

AG Utilities Live Effects - Make Shape Along Path by Count

The shape is placed the specified number of times along each path, equally spaced. For open paths, a shape is placed at each end except when Center is enabled: then the endpoints do not receive shapes and instead the shapes are placed along the interior of the path such that equal spacing would be maintained if multiple copies of the path were placed end-to-end. For closed paths, Center shifts the shapes such that they appear centered between the spots where they would be placed if Center were not enabled.

AG Utilities Live Effects - Make Shape Along Path by Count Center

Along Path (By Distance)

AG Utilities Live Effects - Make Shape Along Path by Distance

Shapes are placed along each path, starting at the first anchor point, with the specified distance between shapes. When Adjust is enabled, the spacing is modified in one of two different ways. In Center mode, the shapes are moved to be centered within the path. In Fit mode, the distance value is changed to the closest value which produces an integral number of shapes along the path.

AG Utilities Live Effects - Make Shape Along Path by Distance Example

If the distance exceeds the path length, then no shapes are created unless Adjust is enabled.

Along Each Segment

AG Utilities Live Effects - Make Shape Along Each Segment

Shapes are placed along segments of each path at the specified length fraction (0 to 100%), where 0% indicates the start of the segment and 100% indicates the end of the segment. By default, all segments are included, but this can be changed to First, Last, Even Only, Odd Only, Curved Only, or Straight Only to affect only a subset of the segments.

At Anchor Points

AG Utilities Live Effects - Make Shape at Anchor Points

Shapes are placed at the positions of the anchor points of each path. By default, all anchor points are included, but this can be changed to First, Last, Even Only, Odd Only, Corner Only, or Smooth Only to affect only a subset of the anchor points.

5. Nine-block Control

When using a Location of Relative to Bounds, allows the picking of one of the nine standard positions (upper-left, upper-center, etc.) to which the shape can be oriented relative to the bounding box.

6. Ignore Groups

When using a Location of Relative to Bounds, when enabled, bounds are calculated separately for each member of any group in the original art (including groups created internally by the live effect mechanism), thereby resulting in multiple shapes if the group has more than one object (such as live text).

AG Utilities Live Effects - Make Shape Ignore Groups

7. Rotation

Specifies the rotation of the shape. This rotation value may be in addition to path tangent-matching rotation (see below).

8. After Matching Path Tangent Angle

This option is available when the location is set to anything other than Relative to Bounds. When enabled, the shape is first rotated to match the tangent angle at its spot along the path, and then any additional rotation specified by the rotation option is added to that value. Angles at corner points are determined by averaging the angles on either side of the point.

9. Alignment

Specifies the alignment of the shape to its nominal center point. This alignment is calculated with the shape in an unrotated state and any rotation is then carried out around the alignment point.

AG Utilities Live Effects - Make Shape Alignment

10. Size

When set to Absolute, the dimensions of the shape are set directly. When Relative, each dimension is based on another dimension, specified using the menu.

11. Dimensional Values

Sets the dimension(s) of the shape (shape types of Arc, Circle, Half-Circle, Line, Polygon, and Square have only a single dimension; Rounded Rectangle has three dimensions).

12. Dimensional Relative

For size Relative, specifies what the dimension is based on. For example, a circle’s diameter can be set to 50% of the original width of the art. For shape types with two or more dimensions, one dimension can be based on the other to determine its aspect ratio (for example, an ellipse’s width can be set to 200% of its height).

13. Plus Value

For size mode Relative, specifies an additional value that is added to the relatively-derived dimension, essentially giving it a minimum value.

14. Randomize

Allows randomization of the rotation and dimensions of the shapes.

15. Distribution Curves

Specifies either a linear distribution in random values (all values in the range are equally likely to be chosen) or a Gaussian distribution (central values in the range are more likely to be chosen).

16. Seed

Each random seed number leads to a different sequence of random values. Clicking the button picks a new seed, thereby changing the look of the artwork. To view or specify the seed number directly, Option/Alt-click the button. This lets you recreate a previously-generated look.

17. Rotation Variation

Specifies the maximum amount of variation in the final rotation of the shapes (in either clockwise or counter-clockwise directions), in degrees. For example, if the rotation value is set to 90° and the variation is set to 15°, possible values would be between 75 and 105°.

18. Rotation Step

Constrains each final rotation value (after randomization) to multiples of the specified step value while still remaining in the original range. In the example above, where possible values range continuously between 75 and 105°, setting the step value to 10° would instead only result in values of 80°, 90° or 100°.

19. Dimensional Variations

Specifies the random variation in the first dimension of the shape. For example, using a Line shape, if the length is set to 20 pt, then a variation value of 25% would produce lengths that vary by as much as 20 pt × 25% = 5 pt, that is, between 15 pt and 20 pt; a variation value of 90% would produce lengths between 2 pt and 20 pt.

20. Dimensional Steps

Constrains each final shape dimension (after randomization) to multiples of the specified step value while still remaining in the original range. For example, using a Line shape, if the length is set to 24 pt with a random variation of 50%, then normally values of 12 to 24 pt would be produced. But enabling Step with a value of 5 pt would result in only values of 15 pt and 20 pt.

AG Utilities Live Effects - Make Shape Randomization

21. Preview

As with all live effects, when enabled, changing a parameter will immediately update the artwork while the dialog is still open.

22. Help Button:

pens the help documentation in the Astute Manager. If this does not automatically appear, please ensure your Astute Manager is running first.

Path Removal is an Astute Graphics live effect that removes paths from the object it is applied to, based on criteria such as path length, type (open/closed), or index. It is most useful when applied to a group of many paths, or is preceded by another live effect which breaks one path into many, such as Astute’s Dashify or Split Path to Segments.

As with most live effects, Path Removal appears in the main menu, under Effect > AG Utilities. It can also be applied directly from the Appearance panel using the “Add New Effect” button at the bottom of the panel.

Path Removal Parameters Dialog

After applying the live effect using the menu item (or when clicking on the existing effect in the Appearance panel to edit it), the parameters dialog will appear:

Path Removal Parameters Dialog

1. Criteria Popup

By default, paths will be removed only if they match all of the enabled options (the first six checkboxes below). However you can change this to When They Match Any Enabled Options, Unless They Match All Enabled Options, or Unless They Match Any Enabled Options.

2. Point Count

Paths match when they have an anchor point count from the minimum to the maximum values specified. The defaults are both 1, meaning paths will match if they are single points. When compound paths are treated as a whole, the anchor point count is the sum of all the anchor points in all subpaths.

3. Length

Paths match when they have a length from the minimum to the maximum values specified. When compound paths are treated as a whole, the length is the sum of the lengths of all subpaths.

4. Type

Paths match when their type is the same as specified. When compound paths are treated as a whole, they match if all of the subpaths match.

5. Subpaths of a Compound Path

Paths match as specified.

6. Segments With Handles

When set to Yes, paths match if any of their segments have handles; when set to No, paths match if none of their segments have handles.

7. Index

Paths match if their index matches the specified indices. Paths are assigned indices starting at zero, increasing in the order in which they are encountered within the live effect. The default type of index match is Odd, i.e. 1, 3, 5, 7, etc. Other options are First, Last, First or Last, Even, and Pattern. Pattern type creates a repeating pattern of matching indices based on the three subsequent parameters.

8. Initial Skip

For Pattern index matching, the initial number of indices to skip over.

9. Match

For Pattern index matching, the number of indices to match after skipping some.

10. Skip

For Pattern index matching, the number of indices to skip over after matching some.

AG Utilities Live Effects - Path Removal Pattern

11. Randomize

Allows randomization of the removal.

12. Seed

Each random seed number leads to a different sequence of random values. Clicking the button picks a new seed, thereby changing the look of the artwork. To view or specify the seed number directly, Option/Alt-click the button. This lets you recreate a previously-generated look.

13. Retention Probability

The probability that a path that would normally be removed under the previous criteria will instead be retained. This value can be fixed (the default) or based on the index.

14. Retention Probability Value

For Fixed probability, the fixed value that applies to all removed paths. When the probability is set to Indexed, it consists of a starting probability value and an ending probability value, which linearly changes based on the index of the path.

AG Utilities Live Effects - Path Removal Randomization Retention

15. Keep Same Geometry Paths Together

When the Path Removal effect is positioned under an artwork’s strokes and fills in the Appearance panel, the stroked and filled paths are passed to it separately, and would therefore normally be randomly affected independently, leading to some paths being stroked but not filled and vice versa. Sometimes this can be solved by simply moving the Path Removal effect above them in the Appearance panel, but depending on the other effects that are present, this may not always be possible. In that case, enabling this setting allows paths with the exact same underlying geometry (such as fills and strokes of the same path) to be retained or removed in a unified manner.

AG Utilities Live Effects - Path Removal Keep Same Geometry Together

16. Treat Compound Paths As a Whole

Normally each subpath of a compound path is examined for possible removal independently. When this setting is enabled, compound paths are either removed in their entirety or retained in their entirety. Some of the match parameters are interpreted slightly differently (for example, Point Count is interpreted to mean the total number of anchor points in all of the compound path’s subpaths).

17. Preview

As with all live effects, when enabled, changing a parameter will immediately update the artwork while the dialog is still open.

18. Help Button

Opens the help documentation in the Astute Manager. If this does not automatically appear, please ensure your Astute Manager is running first. 

Path Visualizer is an Astute Graphics live effect that provides the visualization of anchor points, handles, and redundant points on a path or live text by rendering them as art elements. These art elements remain visible even if the path is not selected. Path Visualizer can be useful when evaluating various fonts (no need to create outlines), and when building large effect stacks; by temporarily inserting it at a certain location in the stack (and hiding effects below it), the state of the path(s) at that point in the effect chain can be visualized without having to expand the effect.

As with most live effects, Path Visualizer appears in the main menu, under Effect > AG Utilities. It can also be applied directly from the Appearance panel using the “Add New Effect” button at the bottom of the panel.

Path Visualizer Parameters Dialog

After applying the live effect using the menu item (or when clicking on the existing effect in the Appearance panel to edit it), the parameters dialog will appear:

Path Visualizer Parameters Dialog

1. Visualize Anchor Points

Creates a filled square at each anchor point on the path. At default 100% scaling, the squares have a side length of 5 pt.

2. Visualize Handles

Creates a filled circle at each bezier handle on the path. At default 100% scaling, the circles have a diameter of 5 pt.

3. Visualize Handle Lines

Creates a straight line from each handle to its associated anchor point on the path. At default 100% scaling, the lines have a stroke weight of 0.75 pt.

AG Utilities Live Effects - Path Visualizer Example

4. Visualize Redundant Points

Draws a semi-transparent red, triangular shape similar to the Astute Graphics PathScribe tool redundant point indicator over redundant points. A redundant point, also known as a doubled point, is defined as the latter of two consecutive anchor points on a path that have exactly the same X and Y coordinates and don’t have handles in the (zero-length) segment between them. They are often created after using the PathFinder functions or after using Object > Path > Outline Stroke, and despite not changing the shape of the path, can cause problems when performing additional functions such as offsetting.

AG Utilities Live Effects - Path Visualizer Redundant Points

5. Include Unpainted Paths

When enabled, paths that have no fill or stroke are included when generating the visualization art. This is generally only necessary when placing the Path Visualizer effect above the fills and strokes in the Appearance panel.

6. Scale

Makes all the visualization art smaller or larger by the specified amount. The annotations that typically show anchor points and handles are independent of the zoom value, but since the live effect visualizations create actual art, they will get larger when the art is zoomed in on. This can make it difficult to see points that are very close to each other, very short handles, etc. The Scale factor can vary from 0.1% to 10000%.

AG Utilities Live Effects - Path Visualizer Scale Example

7. Positioning

The position of the visualization art relative to the original artwork. It can replace the original, go above it (the default), or go below it.

8. Color

The color of the visualization art for anchor points, handles, and handle lines. The default color is black, but it can be changed by clicking on the color chip to bring up the standard color picker.

9. Preview

As with all live effects, when enabled, changing a parameter will immediately update the artwork while the dialog is still open.

10. Help Button

Opens the help documentation in the Astute Manager. If this does not automatically appear, please ensure your Astute Manager is running first. 

Point Removal is an Astute Graphics live effect that removes anchor points from the paths in the artwork to which it is applied, based on criteria such as their distance from the previous point, the change in path angle at the point, or index. In contrast to the Smart Remove Points live effect, the handles of non-removed points are not adjusted to try to maintain path geometry.

As with most live effects, Point Removal appears in the main menu, under Effect > AG Utilities. It can also be applied directly from the Appearance panel using the “Add New Effect” button at the bottom of the panel.

Point Removal Parameters Dialog

After applying the live effect using the menu item (or when clicking on the existing effect in the Appearance panel to edit it), the parameters dialog will appear:

Point Removal Parameters Dialog

1. Criteria Popup

By default, points will be removed only if they match all of the enabled options (the first four checkboxes below). However you can change this to When They Match Any Enabled Options, Unless They Match All Enabled Options, or Unless They Match Any Enabled Options.

2. Distance From Previous

Points match when their distance (measured along the path) to the previous anchor point is between the minimum and the maximum values specified. The first point on an open path will never be matched.

3. Change In Path Angle

Points match when the change in the tangent angle of the path at the point is between the minimum and maximum values specified. Smooth points (unless malformed) will always have a 0° change in angle. The endpoints of an open path will never be matched.

4. Handles

Points match when their number of handles match the specified value: None, Any, Exactly One, or Exactly Two.

5. Index

Points match if their index matches the specified indices. Points are assigned indices starting at zero, increasing in the order in which they are encountered within the live effect. The default type of index match is Odd, i.e. 1, 3, 5, 7, etc. Other options are First, Last, First or Last, Even, and Pattern. Pattern type creates a repeating pattern of matching indices based on the three subsequent parameters.

6. Initial Skip

For Pattern index matching, the initial number of indices to skip over.

7. Match

For Pattern index matching, the number of indices to match after skipping some.

8. Skip

For Pattern index matching, the number of indices to skip over after matching some.

AG Utilities Live Effects - Point Removal Pattern

9. Randomize

Allows randomization of the removal.

10. Seed

Each random seed number leads to a different sequence of random values. Clicking the button picks a new seed, thereby changing the look of the artwork. To view or specify the seed number directly, Option/Alt-click the button. This lets you recreate a previously-generated look.

11. Retention Probability

The probability that a point that would normally be removed under the previous criteria will instead be retained.

12. Keep Same Geometry Paths Together

When the Point Removal effect is positioned under an artwork’s strokes and fills in the Appearance panel, the stroked and filled paths are passed to it separately, and their points would therefore normally be randomly affected independently, leading to some paths having different points removed when Randomize is enabled. Sometimes this can be solved by simply moving the Point Removal effect above them in the Appearance panel, but depending on the other effects that are present, this may not always be possible. In that case, enabling this setting allows paths with the exact same underlying geometry (such as fills and strokes of the same path) have the same points removed or retained.

13. Preview

As with all live effects, when enabled, changing a parameter will immediately update the artwork while the dialog is still open.

14. Help Button

Opens the help documentation in the Astute Manager. If this does not automatically appear, please ensure your Astute Manager is running first. 

Release Compound Path is an Astute Graphics live effect with one simple function: to break compound paths into their individual subpaths. It has no parameters.

As with most live effects, Release Compound Path appears in the main menu, under Effect > AG Utilities. It can also be applied directly from the Appearance panel using the “Add New Effect” button at the bottom of the panel.

The Release Compound Path effect is useful mainly in cases where subsequent live effects act differently when applied to a compound path than from a group of normal paths. For example, applying an Astute Graphics Dashify live effect to a path (which breaks it into a compound path of many subpaths representing the dashes) and subsequently applying a native “Roughen” effect produces dashes that all have the same roughened profile. But if Release Compound Path is added after the Dashify, then each dash receives a different random roughened profile:

AG Utilities Live Effects - Release Compound Path Example

Retract Handles is an Astute Graphics live effect with one simple function: to retract the handles of all anchor points. It has no parameters.

As with most live effects, Retract Handles appears in the main menu, under Effect > AG Utilities. It can also be applied directly from the Appearance panel using the “Add New Effect” button at the bottom of the panel.

The Retract Handles effect ensures that all segments in the paths to which it is applied become straight:

AG Utilities Live Effects - Retract Handles Live Effect

Reverse Path Direction is an Astute Graphics live effect with one simple function: to reverse the directions of all paths. It has no parameters.

As with most live effects, Reverse Path Direction appears in the main menu, under Effect > AG Utilities. It can also be applied directly from the Appearance panel using the “Add New Effect” button at the bottom of the panel.

For paths that are not subsequently brushed, have arrowheads, or are affected by another live effect that depends on path direction (such as Make Shape), Reverse Path Direction will generally not show any visible changes.

Segment Removal is an Astute Graphics live effect that removes segments from the paths in the artwork to which it is applied, based on criteria such as their length, handle status, or index. When segments are removed, the path is split into multiple paths (unless the segments are contiguous in a closed path, in which case the path becomes an open path).

As with most live effects, Segment Removal appears in the main menu, under Effect > AG Utilities. It can also be applied directly from the Appearance panel using the “Add New Effect” button at the bottom of the panel.

Segment Removal Parameters Dialog

After applying the live effect using the menu item (or when clicking on the existing effect in the Appearance panel to edit it), the parameters dialog will appear:

Segment Removal Parameters Dialog

1. Criteria Popup

By default, segments will be removed only if they match all of the enabled options (the first four checkboxes below). However you can change this to When They Match Any Enabled Options, Unless They Match All Enabled Options, or Unless They Match Any Enabled Options.

2. Length

Segments match when they have a length (as measured along the path) from the minimum to the maximum values specified.

3. At Least One Handle

When set to Yes, segments match if they have one or two handles; when set to No, segments match if they have no handles (thus are straight).

4. Index

Segments match if their index matches the specified indices. Segments are assigned indices starting at zero, increasing in the order in which they are encountered within the live effect across multiple paths or subpaths. The default type of index match is Odd, i.e. 1, 3, 5, 7, etc. Other options are First, Last, First or Last, Even, and Pattern. Pattern type creates a repeating pattern of matching indices based on the three subsequent parameters.

5. Initial Skip

For Pattern index matching, the initial number of indices to skip over.

6. Match

For Pattern index matching, the number of indices to match after skipping some.

7. Skip

For Pattern index matching, the number of indices to skip over after matching some.

AG Utilities Live Effects - Segment Removal Pattern

8. Randomize

Allows randomization of the removal.

9. Seed

Each random seed number leads to a different sequence of random values. Clicking the button picks a new seed, thereby changing the look of the artwork. To view or specify the seed number directly, Option/Alt-click the button. This lets you recreate a previously-generated look.

10. Retention Probability

The probability that a segment that would normally be removed under the previous criteria will instead be retained.

11. Keep Same Geometry Paths Together

When the Segment Removal effect is positioned under an artwork’s strokes and fills in the Appearance panel, the stroked and filled paths are passed to it separately, and their segments would therefore normally be randomly affected independently, leading to some paths having different segments removed when Randomize is enabled. Sometimes this can be solved by simply moving the Segment Removal effect above them in the Appearance panel, but depending on the other effects that are present, this may not always be possible. In that case, enabling this setting allows paths with the exact same underlying geometry (such as fills and strokes of the same path) have the same segments removed or retained.

12. Preview

As with all live effects, when enabled, changing a parameter will immediately update the artwork while the dialog is still open.

13. Help Button

Opens the help documentation in the Astute Manager. If this does not automatically appear, please ensure your Astute Manager is running first. 

Smart Remove Points is an Astute Graphics live effect that removes anchor points from a path (like the Point Removal effect) but while trying to maintain the geometry of the path. This is achieved by adjusting the lengths (but not angles) of the handles on either side of the removed points.

As with most live effects, Smart Remove Points appears in the main menu, under Effect > AG Utilities. It can also be applied directly from the Appearance panel using the “Add New Effect” button at the bottom of the panel.

Smart Remove Points Parameters Dialog

After applying the live effect using the menu item (or when clicking on the existing effect in the Appearance panel to edit it), the parameters dialog will appear:

Smart Remove Points Parameters Dialog

1. Tolerance

Specifies how much the geometry of the path can change when removing a point. The value can range between 0 and 200, with a default of 10. Low values remove fewer points (prioritizing the path’s geometry) while high values remove more points (at the likely cost of some distortion).

2. Protect Sharp Corners

When enabled, corner points along the path where the path angle changes by more than 6° are never removed, regardless of the tolerance setting. This allows simplifying smooth sections of a path by using a large tolerance without having to worry that sharp corners will be lost.

AG Utilities Live Effects - Smart Remove Points Example

3. Preview

As with all live effects, when enabled, changing a parameter will immediately update the artwork while the dialog is still open.

4. Help Button

Opens the help documentation in the Astute Manager. If this does not automatically appear, please ensure your Astute Manager is running first. 

Split Path to Segments is an Astute Graphics live effect that breaks a path at its anchor points into multiple segments. Paths can be split at corner points, sharp points, or all points.

As with most live effects, Split Path to Segments appears in the main menu, under Effect > AG Utilities. It can also be applied directly from the Appearance panel using the “Add New Effect” button at the bottom of the panel.

Split Path to Segments Parameters Dialog

After applying the live effect using the menu item (or when clicking on the existing effect in the Appearance panel to edit it), the parameters dialog will appear:

Split Path to Segments Parameters Dialog

1. Split At

Specifies which types of anchor points at which splits should occur: corner, smooth, or both.

AG Utilities Live Effects - Split Path to Segments Examples

2. Preview

As with all live effects, when enabled, changing a parameter will immediately update the artwork while the dialog is still open.

3. Help Button

Opens the help documentation in the Astute Manager. If this does not automatically appear, please ensure your Astute Manager is running first. 

Stroke Attributes is an Astute Graphics live effect that allows changing a path’s stroke parameters (weight, end caps, and corner joins). It also allows forcing a stroke onto a fill-only path, and (optionally) removing that fill.

As with most live effects, Stroke Attributes appears in the main menu, under Effect > AG Utilities. It can also be applied directly from the Appearance panel using the “Add New Effect” button at the bottom of the panel.

Stroke Attributes Parameters Dialog

After applying the live effect using the menu item (or when clicking on the existing effect in the Appearance panel to edit it), the parameters dialog will appear:

Stroke Attributes Parameters Dialog

1. Alter Weight

When enabled, the stroke weight of the path(s) will be changed.

2. Base Value Mode

Specifies what to use for the base value of the stroke weight, which may be subsequently modified by the limit values or through randomization:

• Set Absolute: The default; the stroke weight will be set to the specified value.

• Set Relative to Path Length: The stroke weight will be set to the length of the path times the specified factor. The default factor is 1%, meaning a path with a length of 120 pt would be given a stroke weight of 1.2 pt.

• Set Relative to Original: The stroke weight will be set to the original stroke weight times the specified factor. The default factor is 200%, which doubles the existing stroke weight.

• Use Original: Does not change the base weight.

3. Weight Value

For Set Absolute mode, specifies the base weight of the stroke. For Set Relative to Path Length mode, specifies the factor (as a percentage) by which the path’s length is multiplied to get the base weight. For Set Relative to Original mode, specifies the factor (as a percentage) by which the original stroke weight is multiplied to get the base weight.

AG Utilities Live Effects - Stroke Attributes Example

4. Limit, Minimum Value

Any base weights smaller than this will be changed to this value.

5. Limit, Maximum Value

Any base weights larger than this will be changed to this value.

6. Alter End Caps

When enabled, the end cap type of the stroke is changed to the specified type.

7. End Cap Type

As per the native stroke panel, the type of end cap to use: Butt, Round, or Projecting.

8. Alter Corner Joins

When enabled, the corner join type of the stroke is changed to the specified type.

9. Corner Join Type

As per the native stroke panel, the type of corner join to use: Miter, Round, or Bevel.

10. Miter Limit

For Miter type joins, per the native stroke panel, the miter limit to use.

11. Randomize

Allows randomization of the final stroke weight. This option is only available when Alter Weight is enabled.

12. Distribution Curves

Specifies either a linear distribution in random values (all values in the range are equally likely to be chosen) or a Gaussian distribution (central values in the range are more likely to be chosen).

13. Seed

Each random seed number leads to a different sequence of random values. Clicking the button picks a new seed, thereby changing the look of the artwork. To view or specify the seed number directly, Option/Alt-click the button. This lets you recreate a previously-generated look.

14. Weight Variation

Specifies the maximum amount of variation in the final stroke weight. For example, if the weight is set to 20 pt, then a variation value of 25% would produce weights that vary by as much as 20pt × 25% = 5 pt, that is, between 15 pt and 20 pt; a variation value of 90% would produce weights between 2 pt and 20 pt.

AG Utilities Live Effects - Stroke Attributes Randomization Examples

15. Force Stroke On Fill-Only Paths

When enabled, a stroke will be added to any paths which are fill-only, if at least one attribute (weight, caps, or joins) is specified. For non-specified attributes, default values will be used. The color of the stroke will be the same as the fill color.

16. And Remove Fill

When enabled, the fill of the path will be removed when the new stroke is added.

17. Preview

As with all live effects, when enabled, changing a parameter will immediately update the artwork while the dialog is still open.

18. Help Button

Opens the help documentation in the Astute Manager. If this does not automatically appear, please ensure your Astute Manager is running first.