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Confirming the viability of your artwork

From: Illustrator CS5 One-on-One: Advanced

Video: Confirming the viability of your artwork

All right just to recap. In the previous exercise, we created a knockout group which is an extremely satisfying if slightly obscure feature inside the Illustrator. However, we ended up with these troubling seams at the top of the two forward legs and the thing that's additionally troubling about this is as I zoom in and by pressing Ctrl+Plus, Command+Plus on the Mac I continue to see these seams. And they continued to be the exact same thickness just these little hairlines between the two endpoints, it is if Illustrator is trying to close each one of the paths with a very slim stroke.

Confirming the viability of your artwork

All right just to recap. In the previous exercise, we created a knockout group which is an extremely satisfying if slightly obscure feature inside the Illustrator. However, we ended up with these troubling seams at the top of the two forward legs and the thing that's additionally troubling about this is as I zoom in and by pressing Ctrl+Plus, Command+Plus on the Mac I continue to see these seams. And they continued to be the exact same thickness just these little hairlines between the two endpoints, it is if Illustrator is trying to close each one of the paths with a very slim stroke.

I need to know whether these things are really here or not or whether they are a figment of Illustrator's imagination. Now in the old days you would have had to print the document in order to figure it out. I don't want you to do that in the modern days, you do not want to be printing to your Inkjet Printer or your local LaserJet Printer or something like that, unless it's a PostScript device, it's not going to be truly representative of what you're going to get from commercial output or if you export this graphic to the web or anything like that. So what you need to do instead to confirm exactly what's going on, you go up to the File menu and you choose the Export command and then here inside the Export dialog box make sure Save as type is set to TIFF and then go ahead and save your graphic here to the 22_transparency folder if you want to.

You don't really need to though if you're working along with me because I have already given you the file. It's called Rastermath (from AI).tif. So I have already saved this file in advance. I am going to Cancel out because we don't need to review that dialog box and I am going to switch to Photoshop here and notice that I have Rastermath (from AI).tif opened. And something I neglected to mention about exporting images directly from Illustrator is that the program doesn't pay attention to the trim size or the artboard or the bleed size or any of that during the export process.

It goes ahead and exports all of the objects and then some, so you frequently get a lot of extra room around the outside. All right, from here things look to be okey dokey but I'm way too far out to really tell. So I am going to press Ctrl+Spacebar or Command+Spacebar on the Mac in order to my Zoom tool on the fly and then you can take advantage of this scrubby zoom feature that's new to Illustrator CS5, where if you drag to the right you're going to zoom in and if you drag to left you are going to zoom out. And you need to drag immediately with the tool, you can't click and hold because then you're going to get this kind of drifty zoom.

Anyway, and this is known as the Scrubby Zoom Feature in CS5, if you don't like scrubby zooming, if you'd rather drag a box in order to zoom in the area inside your marquee which is the old-style behavior and what you get inside of Illustrator as well, then you switch to the Zoom tool down here at the bottom of the toolbox and then with the Zoom tool active you'll see these check boxes up in the Options Bar. Notice this right there Scrubby Zoom, turn it off and then because we have got the tool active you don't need to press any keys anymore, just drag around the area that you want to zoom like so, work just like it does in Illustrator and you zoom in on that detail and sure enough the problem does not actually exist here inside Photoshop which means it doesn't really exist at all.

Now the most representative view if you're inspecting an illustration and trying to figure out everything that's going on inside of it, you press Ctrl+1 or Command+1 on the Mac in order to switch to the 100% view and then if you really want to get analytical and we can see that these legs are just fine. But if you want to analyze every single little detail inside the image then press the Home key and that will move you to the top left corner of this image which is currently white. There's nothing to see here. So you know what, I'm going to go ahead and press Ctrl+ 0 or Command+0 on the Mac in order to zoom all the way out and sorry to hit you with all these keyboard shortcuts.

If you'd rather go to the menu you can, you can go to the View menu and choose Actual Pixels that's the Ctrl+1 or Command+1 keyboard shortcut, that zooms you into a 100% and if you want to fit the image onscreen as we are seeing now, you choose the Fit on Screen command or again press Ctrl+0, Command+0 on the Mac. And what I am going to do is I am going to grab my Crop tool let's say and I would want to make sure that I am not seeing any values up here in the Options Bar. If you're seeing some values click the Clear button in order to clear them out and then just crop around the salient details inside the illustration like so and it doesn't really matter that you get the dimensions exactly right, we are just trying to test the file and see what's up.

So this looks good to me, I'll press the Enter key or the Return on the Mac in order to crop the image. Then I'm going to switch back to my Rectangular Marquee tool just so I don't accidentally crop anymore and I'll press Ctrl+1 or Command+1 once again to return to the 100% view mode, then I'll press the Home key in order to scroll to the top left corner of the image. And you can see here that we've got this little fragment that's coming off this stroke. Well that doesn't seem to me to be too much of our problem so I am not going to worry about it. Now to see the next increment we would press the Page Down key in order to see basically the next clump down inside the illustration, then you would press Page Down again to keep moving, Page Down again and then you were just scroll over with the Hand tool by Spacebar+Dragging or if you prefer you can press Ctrl+Page Down or Command+Page Down on the Mac to move one increment to the right and then you would press Page Up in order to check out the next block upward and Page Up again and Page Up and then to move over to right again you would press Ctrl+Page Down, that's Command+Page Down on the Mac.

We are now to the far right side of the image which is good news and then I'd press Page Down again to check out this area, Page Down another time to check out this stroke and then one more press the Page Down shows me the final portion of the illustration and that is obviously if you want to be super meticulous about inspecting each and every detail. What we needed to know, the part that we needed to research was this area right here and it looks fine. So remember when you're trying to confirm the way an illustration is really going to output hopefully or at least Rasterize, don't print it, not to one of your local printers unless it's a PostScript device, instead go ahead and export that graphic to the TIFF format in Illustrator and then inspect that TIFF image in Photoshop.

Show transcript

This video is part of

Image for Illustrator CS5 One-on-One: Advanced
Illustrator CS5 One-on-One: Advanced

153 video lessons · 28368 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 38m 35s
    1. Welcome
      1m 48s
    2. Linking AI and EPS files to Illustrator
      6m 48s
    3. Installing the dekeKeys keyboard shortcuts
      7m 43s
    4. Remapping Mac OS shortcuts
      6m 56s
    5. Installing the Best Workflow color settings
      4m 54s
    6. The color settings explained
      7m 4s
    7. Preserve Numbers vs. embedded profiles
      3m 22s
  2. 1h 40m
    1. Converting pixels to vectors
      1m 2s
    2. Tracing an imported image
      6m 17s
    3. Other ways to trace
      3m 17s
    4. Raster and vector previews
      7m 2s
    5. Threshold, Min Area, and Max Colors
      5m 27s
    6. Tracing options: The raster functions
      8m 2s
    7. Using the Ignore White option
      5m 3s
    8. Tracing options: The vector functions
      6m 40s
    9. Expanding traced artwork
      5m 6s
    10. Sketching and drawing for Illustrator
      6m 24s
    11. Editing scanned line art
      9m 23s
    12. Adding contrast and color
      10m 32s
    13. Live Trace and resolution
      9m 8s
    14. Expanding and separating paths
      8m 43s
    15. Scaling and editing traced art
      8m 4s
  3. 1h 8m
    1. Gradients are good
      1m 15s
    2. Assigning a gradient fill
      6m 9s
    3. Using the gradient annotator
      7m 31s
    4. Editing multiple gradients
      4m 37s
    5. Establishing symmetrical gradients
      5m 28s
    6. Creating a radial gradient
      5m 46s
    7. Adjusting the midpoint skew
      3m 23s
    8. Mixing gradients with blend modes
      6m 11s
    9. Making a transparent gradient
      6m 42s
    10. Drop shadows and dynamic effects
      5m 58s
    11. Assigning a gradient to editable text
      5m 42s
    12. Editing text that includes dynamic effects
      2m 56s
    13. Assigning a gradient to a stroke
      6m 46s
  4. 1h 37m
    1. The earliest dynamic functions
      1m 10s
    2. The gradient-intensive illustration
      5m 26s
    3. Creating a multi-color blend
      7m 39s
    4. Establishing a clipping mask
      3m 34s
    5. Reinstating the mask colors
      9m 7s
    6. Editing blended paths
      6m 50s
    7. Adjusting the number of blended steps
      6m 49s
    8. Using the Blend tool
      4m 33s
    9. Blending between levels of opacity
      7m 32s
    10. Editing the path of the blend
      6m 22s
    11. Adding a custom path of the blend
      5m 4s
    12. Placing one mask inside another
      8m 33s
    13. Blending groups and adjusting the speed
      6m 1s
    14. Rotating objects in 3D space
      10m 21s
    15. Creating custom perspective guides
      8m 31s
  5. 1h 37m
    1. What was old is new again
      39s
    2. Introducing tile patterns
      6m 11s
    3. Determining the points of intersection
      6m 51s
    4. Extending paths from the intersections
      5m 40s
    5. Crafting symmetrical subpaths
      5m 38s
    6. The final flawed subpaths
      5m 52s
    7. Reconciling misaligned paths
      5m 34s
    8. Completing the core path outline
      6m 14s
    9. Making a symmetrical modification
      6m 47s
    10. Adjusting the interior elements
      8m 26s
    11. Coloring paths and testing the interlock
      9m 29s
    12. Establishing a rectangular tile
      6m 22s
    13. Defining a tile pattern
      3m 43s
    14. Creating a few color variations
      8m 50s
    15. Protecting patterns from transformations
      6m 9s
    16. Transforming patterns without paths
      5m 30s
  6. 1h 12m
    1. Filling and stroking virtual areas
      44s
    2. Introducing Live Paint
      7m 57s
    3. Stroking with the Live Paint Bucket tool
      5m 30s
    4. Using the Live Paint Selection tool
      7m 18s
    5. Adding a path to a Live Paint group
      4m 33s
    6. Building a classic Celtic knot
      8m 28s
    7. Constructing the base objects
      5m 31s
    8. Weaving one object into another
      6m 13s
    9. Creating a path that overlaps itself
      7m 15s
    10. Painting a path that overlaps itself
      5m 34s
    11. Creating knots inside knots
      5m 2s
    12. Adding gradients and depth
      8m 22s
  7. 1h 4m
    1. Dynamic effects and OpenType
      1m 12s
    2. Applying a dynamic effect to type
      5m 43s
    3. Creating a basic bevel effect
      4m 12s
    4. Building up a multi-stroke effect
      4m 49s
    5. Best practices for 3D type
      6m 34s
    6. Applying a "path wiggler" to type
      6m 14s
    7. Drop shadows and Raster Effects settings
      4m 52s
    8. Duplicating attributes and effects
      7m 8s
    9. Editing type with dynamic effects
      7m 27s
    10. Ligatures, swashes, ordinals, and fractions
      5m 45s
    11. Small caps and the Glyphs panel
      4m 25s
    12. Warping text and increasing resolution
      6m 9s
  8. 1h 44m
    1. A world of colors at your beck and call
      1m 32s
    2. Customizing a letterform to make a logo
      8m 37s
    3. Creating a custom drop shadow effect
      6m 26s
    4. Introducing the Color Guide panel
      9m 3s
    5. Harmonies and Color Guide settings
      5m 39s
    6. Lifting harmony rules from color groups
      7m 21s
    7. Harmony layouts and the Lab color wheel
      8m 15s
    8. Working inside the Edit Color dialog box
      6m 36s
    9. Limiting a color group to spot colors
      5m 47s
    10. Recoloring selected artwork
      5m 50s
    11. Recoloring with custom color groups
      6m 1s
    12. Swapping colors with the Color Bars feature
      5m 18s
    13. Using the options in the Assign panel
      8m 41s
    14. Moving color groups between documents
      7m 17s
    15. Distilling your artwork to one spot-color ink
      7m 45s
    16. Recoloring artwork that contains gradients
      4m 17s
  9. 1h 21m
    1. How symbols work
      1m 2s
    2. The power of symbols
      5m 1s
    3. Creating new symbols
      6m 0s
    4. Enabling the new 9-slice scaling
      4m 24s
    5. Adjusting your 9-slice scaling guides
      6m 54s
    6. Previewing and acquiring symbols
      4m 12s
    7. Finding a symbol and creating an instance
      4m 13s
    8. Duplicating and replacing instances
      4m 19s
    9. Breaking a symbol link and envelope fidelity
      5m 26s
    10. Distorting and expanding a symbol
      4m 54s
    11. Updating an existing symbol definition
      3m 40s
    12. Recoloring a symbol definition
      4m 13s
    13. Applying a basic "local" color adjustment
      5m 20s
    14. Applying a more elaborate local color adjustment
      5m 4s
    15. Laying down a random symbol set
      5m 35s
    16. The eight symbolism tools
      6m 55s
    17. Editing selected instances
      4m 11s
  10. 1h 32m
    1. Illustrator needs Photoshop
      1m 1s
    2. Two ways to place a pixel-based image
      6m 6s
    3. Working with linked images
      6m 6s
    4. Linking versus embedding
      9m 38s
    5. Stroking and blending an image
      6m 16s
    6. Adding a clipping mask and page curl
      6m 51s
    7. Creating a blended border effect
      7m 10s
    8. Rasterizing your artwork in Photoshop
      8m 0s
    9. Saving a flat raster file from Photoshop
      4m 58s
    10. Restoring cropped border elements
      5m 39s
    11. Copying and pasting into Photoshop
      6m 27s
    12. Working with Photoshop Smart Objects
      5m 26s
    13. Adding a pixel-based layer effect
      4m 12s
    14. Editing a Vector Smart Object in Illustrator
      7m 20s
    15. Creating and placing a transparent image
      7m 1s
  11. 1h 15m
    1. The many forms of transparency
      1m 29s
    2. Real-world blending modes
      7m 57s
    3. Exporting transparency from Illustrator
      6m 24s
    4. Opacity and blending modes
      6m 18s
    5. The Darken and Lighten modes
      7m 17s
    6. The Contrast, Inversion, and HSL modes
      6m 12s
    7. Blending modes in action
      5m 11s
    8. Creating a knockout group
      6m 14s
    9. Confirming the viability of your artwork
      6m 8s
    10. Introducing the opacity mask
      4m 6s
    11. Making an opacity mask
      5m 25s
    12. Drawing inside an opacity mask
      3m 34s
    13. Creating a gradient opacity mask
      5m 29s
    14. Adding an opacity mask to a single object
      3m 22s
  12. 1m 13s
    1. Until next time
      1m 13s

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