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Illustrator CS5 One-on-One: Advanced

Copying and pasting into Photoshop


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Illustrator CS5 One-on-One: Advanced

with Deke McClelland

Video: Copying and pasting into Photoshop

I am back in Illustrator, looking at the contents of the Big artboard.ai file found inside the 21_photoshop folder and in this exercise, we are going to turn off that rear items layer there in the layers panel. We are going to turn on the knot layer and we are going to go ahead and select this knot, copy it and then paste it into Photoshop and that will provide us with a world of additional creative options. So here's what I'd like you to do if you are working along with me. Go up to the View menu, choose Guides and choose Lock Guides to turn the command off. So we want the command off so that we can select that little guide that target guide in the center there.
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  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's 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 CS's 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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Illustrator CS5 One-on-One: Advanced
14h 53m Intermediate Nov 30, 2010

Viewers: in countries Watching now:

In Illustrator CS5 One-on-One: Advanced, author and industry expert Deke McClelland teaches how to take advantage of the wide array of dynamic features in Illustrator CS5. This course demonstrates how to apply these features to paths, groups, and editable text to create professional-quality artwork. The course covers Live Trace, Live Paint, and Live Color, as well as symbols, gradients, exporting, and integration with Photoshop. Exercise files accompany the course.

Topics include:
  • Tracing a pixel-based image
  • Sketching and drawing for Illustrator
  • Creating and editing gradients
  • Creating multi-colored blends
  • Creating seamlessly repeating tile patterns
  • Creating interlocking artwork with Live Paint
  • Designing advanced type effects
  • Recoloring artwork with color harmonies
  • Making the most of symbols
  • Integrating Illustrator with Photoshop
  • Using transparency, blend modes, and opacity masks
Subject:
Design
Software:
Illustrator
Author:
Deke McClelland

Copying and pasting into Photoshop

I am back in Illustrator, looking at the contents of the Big artboard.ai file found inside the 21_photoshop folder and in this exercise, we are going to turn off that rear items layer there in the layers panel. We are going to turn on the knot layer and we are going to go ahead and select this knot, copy it and then paste it into Photoshop and that will provide us with a world of additional creative options. So here's what I'd like you to do if you are working along with me. Go up to the View menu, choose Guides and choose Lock Guides to turn the command off. So we want the command off so that we can select that little guide that target guide in the center there.

Then I want you to press Ctrl+A, or Command+A on the Mac, to select every visible object inside of this illustration, assuming, of course, that you turned off the rear items layer and you turned on the knot layer. Then go up to the Edit menu and choose the Copy command. Now, at this point, it's probably useful to review your Clipboard options, your Clipboard Preference settings, although it's unlikely that they've got changed because I didn't tell you to change them and probably nobody else did, but let's just make sure everything is honky-dory. By pressing Ctrl+K, Command+K on the Mac, to bring up Preferences, then switch to this option right there; File Handling & Clipboard, and notice, our Copy As options down here.

Copy As PDF, we definitely want that turned on. You also want AICB that is Adobe Illustrator Clipboard turned on. That doesn't offer transparency support, but that's okay because we'll have two variations on this artwork ready to go and then Photoshop can pick and choose which one it needs and we want Preserve Appearance and Overprints turned on as well. So as I say, these are the defaults settings but they do need to be active for this technique to work. I am just going to go ahead and cancel up because I already had it set up that way. And then I am going to switch over to Photoshop here, and notice inside Photoshop, I already have Raster background.tif open and that file is found inside the 21_photoshop folder.

Then go up to the Edit menu and choose the Paste command or you can press Ctrl+V, Command+V on the Mac. Now you should see this dialog box right here. If you don't, if you end up pasting something weird that you didn't intend to paste or you paste a piece of artwork that you'd last copied inside of Photoshop, what you need to do is quit Photoshop and then restart the program. Sometimes Photoshop has a problem of importing the active clipboard from the operating system. Anyway, quitting and restarting should solve the problem, then copy the artwork again inside Illustrator and then try pasting it in Photoshop, and you get four Paste As options.

We are going to take a look at Smart Object last, so let's start with Pixels. What Pixels does is it goes ahead and converts your vector-based artwork to raster arts so you go ahead and rasterize the art at the current resolution of the image. So in our case, it's going to exactly match the background just as it did inside of Illustrator. Those new pixels will arrive on an independent layer so we can modify them independently of the background art, which is great, by the way, that's really awesome, but it's not the best solution. Next is Path and what that does is it goes ahead and pastes the path outlines into the Paths panel.

That's useful if you want to generate a selection inside of Photoshop; there is other stuff you can do, but here's a caveat. It's got to be just like one or two path outlines or a compound path because you are going to lose the Fill and Stroke attributes and the Paths panel isn't going to have the vaguest idea of what to do with our Live Paint objects. So it won't work; we don't want that. Shape layer is going to do pretty much the same thing except it's going to result in a vector-based shape layer here inside Photoshop. The problem is it's still governed by a path outline that's housed inside the Paths panel.

So again, it's good for one or two path outlines or a compound path; you are going to lose your Fill and Stroke attributes; it's no good for a Live Paint object like we have. If you want to retain everything about that illustration including editability so you can go back and the Illustrator make changes then you want Smart Object. This guy is the way to go, and if you are not familiar with Smart Objects inside Photoshop, don't fret because I am going to walk you through how they work. But here's the deal, it's like a special container inside of Photoshop that holds all of the editable information, and it means that you are rasterizing the artwork on the fly; you'll get the best possible results.

So go ahead and click OK, and then you'll end up seeing the knot onscreen; it's going to look choppy and awful; don't worry about that. Illustrator hasn't really render things out properly. You can go ahead and zoom in if you want to and you'll see better resolution, but you won't see any anti-aliasing. So you'll see jagged pixel transitions. Anyway, you will see this X through your artwork. So this X is just like Adobe's universal sign for a strange element. We saw it associated with a linked image inside of Illustrator. Now, we see it associated with a rasterized vector object here inside of Photoshop.

Well, it only appears during the place process right at the beginning here. You can make modifications to the size if you want to and I am going to do that just for the sake of demonstration. I am going to reduce the size of this object and I am going to do that by Shift+Alt+Dragging one of the corner handles, that would be a Shift+Option+Drag on the Mac in order to reduce the size of that knot. It's not really something we want, but it's going to be useful for demonstrational purposes. So I'll reduce the size of the knot ultimately, let's say, just so that we have a memorable number.

I'll go up here to the Options Bar which is analogous to Illustrator's Control panel. Make sure that you turn on the Chain icon so that we are linking both the Height and Width values, and I am going to change its value to 50%, either Width or Height and we'll get 50 for both, of course. Then I'll press the Enter key a couple of times to accept that modification and rasterize the artwork on the fly here inside Photoshop. I am going to zoom in so you can see that the artwork is super-smooth because now Photoshop has gone ahead and applied its anti-aliasing which is the way that Photoshop reconciles the fact that you have curving segments here that are cutting through square pixels.

And so it ends up creating a smoothing effect, it's where you'd be coming, looks totally awesome. Now also notice I want you to see that we have a Vector Smart Object over here inside the layers panel, and that little Page icon right there indicates that we have a smart object which is full illustration with all the vector objects, the Live Paint information, all the gradients, everything, that's embedded inside the Smart Object container here inside Photoshop, and we'll see what that all means and why it's so great in the next exercise.

Find answers to the most frequently asked questions about Illustrator CS5 One-on-One: Advanced.


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Q: The instructions for installing the dekeKeys don't work on my computer (which is running Mac OS X Lion). Is there an update to these?
A: The dekeKeys distributed with this course will still work for Lion. You just need to add them to a slightly different folder than in previous versions of OS X.

Open a new Finder window and choose Go > Go to Folder. Type the following file path exactly as written below. Copying and pasting may result in an error.

~/Library/Preferences/Adobe Illustrator CS5 Settings/en_US

Move and/or copy/paste the dekeKeys to this folder and follow the rest of the instructions as outlined in the video, "Installing the dekeKeys keyboard shortcuts."
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