another moan

Or, to me, better yet is to use layers and select the object from there. Much easier to identify. The sub-layer that's on top of the other will be situated as such on your image.

Bob

Bob:

Got me beat.

Bert

I am a firm believer in the use of sub-layers, Bert. They do work great for all sorts of things and I keep layers open all the time for that reason. It's especially great for locking objects when they might well come into conflict. That way you can do multiple work in areas tight with things that get in the way otherwise. Or for that matter turn off thier view so all you see is what you wish to work on. The addition of Sub-Layers to full Layers was a boon for working ease for me.

Bob

I think the adobe team should spend a week looking at freehand. Workflow is
much more intuitive. Hey whilst you're at it, have a look at expression
(just found out microsoft bought the company -argh). They have a neat extra
handle on each anchor point on a path - to determin stroke thickness. When
you draw with a pen the stoke thickness is recorded, but is also editable
subsequently. Very nice. Would wok well the ill cs natural brushes.

Getho

ps Thanks for the selection pointers - i'll have to start sing the layers
pallete more


<BobHill@adobeforums.com> wrote in message
news:3bb557c5.3@webx.la2eafNXanI...

> I am a firm believer in the use of sub-layers, Bert. They do work great

for all sorts of things and I keep layers open all the time for that reason.
It's especially great for locking objects when they might well come into
conflict. That way you can do multiple work in areas tight with things that
get in the way otherwise. Or for that matter turn off thier view so all you
see is what you wish to work on. The addition of Sub-Layers to full Layers
was a boon for working ease for me.

>
> Bob