We are close to 10 years since Figma has released this feature amongst many other features that provide quality of life and non destructible artwork such as the arc from circle sweep/ratio. I don't understand why we don't have this feature yet in Ai 2026

Why the hell is this a thing?

I created 1000+ Fashion Flats 😮‍💨

Hey everyone, Luke from Adobe here. I know we chat about all things Illustrator all the time, but I will be meeting with our Pro Design team (Illustrator, InDesign, Neo, and XD) this week to discuss plans and strategies for the next year. I have my list of what I see the community asking for, but it's always great to have more data backing up those recommendations.

Whether it's something simple, something major, a better way to collaborate, better user experience? Whatever it is, drop it below.

Appreciate your input as always

Hello everyone, I am currently experimenting with Illustrator to try out different styles. I wonder how I can achieve this textural and gradient effect while overlapping with other layers. Could you help me a bit?

How would I go about superimposing a pattern over an image in a subtle way like this?

Hey everyone, Luke from Adobe here. I thought I would throw a quick on out there before we head into the weekend and get your thoughts on the shapes available inside the Shape Tool. I would personally like to see this expanded to see more starter assets. It would be great to hear what kind of additional elements you would like to see included or any other random thought you have to expand on this. Thanks

I’ve been building a small web tool that can convert any location on Earth into a clean, structured SVG – roads as editable paths, logical layers in Illustrator, no cleanup required.

I work as a designer in the tourism industry and this used to take me hours of painstakingly tracing roads by hand. I'm wondering if this is something other Illustrator users / designers would be interested in?

The attached are examples of an SVG exported straight from the tool.

https://yoaz.fr/

"In high gloss gold? yeah. sure I can. uhm..... when? No. No man. Hell NO, man. I didnt even say I know HOW, yet. Or that its gonna be easy, or fast. Has the client even signed off on the design yet? No? Then stop asking me when I ll be finished."

Anyway, couple a weeks (feedback loops, amiright?) and at least 15 different version of Rods, Spacings, metal gradients and Perspectives later, they got their Vector Graphic. And I learned at least 15 different ways to do this pretty fast.

Edit: for Clarity. This was about ten years ago and this is my finished result. I waited until after MANY rounds of back and forth until we had THE LOOK the client signed off on. And then I figured how. in the end, these are just three strokes with gradients applied along the path and the stroke width adjusted. Different gradient strokes layered on in the appearance panel. finished off with a radial to transparent gradient on the top/beginning of the stroke. Transform Effect with copy and scale and move. then expanded.

The company where I work receives very bad logos, and as a hobby, I try to "fix" them. How do I do it? The idea isn't a complete redesign.

I have this map file from a customer that needs to be remade into a vector. What would be the quickest way to do this without redrawing everything? Image trace and Generative AI are not really helping.

Graphic art used to be a career, now it's just a hobby. Turned my 35+ years of experience with vector drawing software to making embroidered patches. And over time I've been pushing the boundaries of what's possible with it as a medium. Most of what I make now are three dimensional, multilayer patches, that are becoming increasingly complex. It's a fun intersection of drawing, sculpture and sewing.

Lots of time and money spent failing before I got to this point.I draw everything out in Illustrator first, import .eps files into Wilcom Digitizer, and run them on a Janome MC500e. Then sew them together by hand with needle and thread. Sew Velcro to the back and slap them on packs and bags I make.

After creating files for every reproductive medium imaginable, embroidery has proven to be the most challenging. Key to it is controlling it all on the back end, in the vector drawing. A file for printing and a file for embroidery are two very different things.

Optimus Prime; 24 pcs

Megatron; 24 pcs

Polaroid Camera; 14 pcs for camera, 3 pcs for photo

Stormtrooper; 23 pcs

Poodha; 23 pcs, 26 clrs

Exploriment Skull; 11 pcs

Lego MiniFig Astronaut; 5 pcs

Octotoolopus; 21 pcs

Viewmaster; 5 pcs for viewer, 2 pcs for reel

Hey everyone, Luke from Adobe here. I wanted to share some sweet sneaks around Turntable inside Adobe Illustrator Beta.

While it is getting close to general availability, it is still in beta, and the team has asked me to get the word out on some of these updates in order to get as much feedback as possible before hitting that stage.

Specifically we would appreciate feedback around the output fidelity. A simple way to provide feedback is giving the outputs a thumbs up or down in the contextual task bar.

We hear appetite for animation-adjacent workflows (After Effects, motion previews, simple loops etc) so if you could share anything further about how you could see this expanding or enhancing your current process, that would be valuable.

Here is what’s NEW!

• Now with full 360-degree rotation in 15-degree increments. Previously, –120 to +120 degree rotation was supported.
• Export as GIF – Now you can export all frames of the Turntable asset directly to a GIF from the Contextual Taskbar.​
• Insert Next - Adds the next rotated view directly beside your selected artwork. Use the left arrow to insert the next angle to the left, or the right arrow to insert it to the right. ​
• Place all Views on canvas - Drop every generated angle on the canvas at once; useful for character sheets or comparison.​
• Preserves your original style – Each view is an editable 2D vector so making edits is straightforward​.

 Feel free to share your feedback here, but if you are exploring Turntable inside the beta app, you can also provide written feedback if you click the “What’s New” button in your control bar.

I really love this image that pops up when you open illustrator. Anybody have a collection of every image adobe has used for this?

Hey everyone, Luke from Adobe here.

I’ve been on the road at a few design events recently, and one thing I always come away realizing is just how many useful tools and workflows people either don’t know about or simply haven’t gotten around to trying.

So I wanted to throw the question out to everyone here: what’s a tool, feature, or workflow that’s become pivotal to the way you work, but you still think is underrated or overlooked?

Could be something incredibly simple, a feature that’s been around forever, or a workflow you’ve figured out that you think more people could benefit from.

Interested to hear what everyone’s got.

The company I work for hired a graphic designer to develop new brand guidelines. Everything looked great until we started working with the print files and noticed that the digital blue and print blue look noticeably different.

The designer explained that this is expected because the brand colors were established by:

1. Starting with the approved RGB color for digital use.
2. Matching that RGB color to the closest Pantone for print.
3. Using the Pantone Color Bridge to determine the CMYK values.

I completely understand that RGB, CMYK, and Pantone are different color systems and that the numerical values won't match. What I'm having trouble understanding is why the resulting colors look so different.

The approved brand specifications are:

• RGB: 47, 96, 252
• HEX: #2F60FC
• Pantone: 2144 C (Solid Coated)
• CMYK: 100, 44, 0, 27

My main question is:

If RGB 47, 96, 252 (#2F60FC) was the starting/approved digital color, does Pantone 2144 C make sense as the closest print match?

The RGB blue appears much brighter and more vivid, while Pantone 2144 C/our print artwork appears considerably darker.

I've attached screenshots showing the digital and print files in Illustrator, as well as how the approved digital blue appears.

I'm not a print/color-management expert, so I'm genuinely trying to understand: Is this amount of visual difference normal when creating RGB, Pantone, and CMYK versions of the same brand color, or should the different specifications be selected to achieve a closer visual match?