The majority of the layers were merely storage for an interface’s unedited shapes I used in their construction. I was just starting to get the hang of web design and interfaces I created in Photoshop were created using a ton of layers. Swiftly and easily changing Illustrator artwork after inserting it into Photoshop prompted me to start doing a lot more in Illustrator. Smart Objects finally allowed you to import Illustrator files that were not only resolution independent, but re-open the artwork back into Illustrator to make your change and then save it directly back into the Photoshop file. It wasn’t the best experience because even if I did create my Illustrator artwork at the size it needed to be in Photoshop, I still had to re-position it in Photoshop and if I had filters applied to the layer, keep in mind this is before smart filters, I had to try to remember exactly what filters and settings I used in order to get things back to where I wanted them. You had to go back to the original Illustrator file, change it, save it, and then re-import it back into Photoshop. Needing to make an adjustment to an Illustrator file that I had imported into Photoshop prior to this time was a pain. While I had always been more excited for Photoshop’s new features instead of Illustrators it was the inclusion of Photoshop’s Smart Objects that made the biggest impact on using Illustrator more frequently. I missed CS1, so CS2 was my first introduction to having new versions of Photoshop and Illustrator at the same time. In 2005 Adobe released the Creative Suite 2. Amazingly, it wouldn’t be for quite a few more years that I would begin to make a real transition from Photoshop to Illustrator.
Oh, the time spent just deleting the banded gradient lines was more than I prefer to think about. I frequently dealt with banded gradient fills from clients, where the bands were individual lines that were assigned differing colors to make a pseudo gradient, and being able to replace them in Illustrator with a true gradient fills made fixing files much easier.
However, despite the change, the compatibility of Photoshop and Illustrator files with Adobe PageMaker 7 and Quark Xpress 4.1 made page layout design much easier. I still preferred Corel Draw as it had a few features that Illustrator didn’t thus I felt like I was stepping backwards instead of forwards at times. Eps files from Illustrator played nicer than the same files exported out of Corel Draw as an eps with the imagesetter we used in producing film for offset press plates.Īs I was using Illustrator for cleaning up and fixing vector images, I felt I might as well learn Illustrator since I would be using it so much. The only time I was using Illustrator back then was when I would clean up eps files for print jobs. One day I was reading an online tutorial that showed me the power of Photoshop layers and that was the sole thing made me want to start using Photoshop instead of Corel Paint. Power of the Layers – from Corel Paint to Photoshop At this point Corel Draw 8 had been out for a few years and while the business I worked for had Photoshop and Illustrator, no one was able to show me exactly why I should switch applications nor what benefits you got from the Adobe products over Corel’s. Prior to Photoshop and Illustrator, I used Corel Draw and Corel Paint. The switch to Illustrator has been a slow one. Interestingly, it was a new Photoshop CS2 feature that really prompted me to start using Illustrator for most of my design work. I still need Photoshop for things like web design, but where I would have created all my imagery in Photoshop five years ago, I now start with Illustrator and then bring those elements into Photoshop for compositing. I haven’t completely abandoned Photoshop, but I now use Illustrator for the majority of my design work.
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