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Copying and pasting pixels from Photoshop

From: Illustrator CS4 One-on-One: Advanced

Video: Copying and pasting pixels from Photoshop

In this exercise, I'm going to introduce you to the sample project and I'm going to explain a few ways that you can work with images inside of Illustrator that you ought not to. Then once we've gotten the worst practices out of the way, we'll move on to the best practices. So I've got two illustrations open here inside of Illustrator and we'll be switching back and forth between Photoshop and Illustrator throughout this chapter by the way. So if you do have both that's a great thing. If you don't, just sit back and watch. The names of the illustrations I have open are Healthcare.ai and this will be the base for all of the stuff that we're going to do for our sample project. Then we've got Final advertisement.ai, which I have up on screen just so as you know where we're going with this project. We're going to introduce this photograph of this woman over here on the right hand side of the document.

Copying and pasting pixels from Photoshop

In this exercise, I'm going to introduce you to the sample project and I'm going to explain a few ways that you can work with images inside of Illustrator that you ought not to. Then once we've gotten the worst practices out of the way, we'll move on to the best practices. So I've got two illustrations open here inside of Illustrator and we'll be switching back and forth between Photoshop and Illustrator throughout this chapter by the way. So if you do have both that's a great thing. If you don't, just sit back and watch. The names of the illustrations I have open are Healthcare.ai and this will be the base for all of the stuff that we're going to do for our sample project. Then we've got Final advertisement.ai, which I have up on screen just so as you know where we're going with this project. We're going to introduce this photograph of this woman over here on the right hand side of the document.

And we're going to introduce some masking and some softness and add a few filigrees and so on. And I should say a couple things about what we're seeing here. These filigrees come to us from illustrator Sam Alfano of istockphoto.com. And just in case you're thinking gosh! You see these filigrees all the time. They're very, very popular. And you may be wondering, gosh! How do those guys do that, what tool do they use, do they use like the Spiral tool? Actually they use a couple of tools.

One is the Pen tool and the other is their artistic vision. And talent. That's another good tool. These are hand drawn by the way. This is all hand drawing, believe it or not. It's quite the detailed artwork I'm here to telling you. So, Sam Alfano, once again. If you want filigrees, my goodness! The guy has got all kinds of stuff up there at istockphoto.com and choose from, just do search for filigrees and you'll find it. This photograph comes to us from photographer Jordan Chesbrough also of istockphoto.com. Okay, so let's say we want to introduce this photograph into the artwork, why? We'll work inside Final advertisement right now. First thing I'll do is I'll go ahead and switch over to this image layer, which is where I'm putting the image.

If you twirl that layer open, you'll see that in addition to this bleed clipper which is clipping to the bleed, notice that I have a bleed going outside of my artboard. That I have got these guides and this is actually group of guides, so you can group guides together if you want to inside of Illustrator, I'll go ahead and turn on those guides so we can see him. Then I'm going to Shift+Tab away my palettes once again so I have more room to work since this is such a wide illustration. And I'm going to switch on over to Photoshop here and I did that by pressing Alt+Tab. You can press Command+Tab on the Mac. Here's the original version of the photograph. It's called Orange woman.tif and it's found again inside the 20_images folder.

So let's say we just want to do your old standard everyday average copy and paste which you can do by the way, you can copy an image from Photoshop and then paste it into Illustrator if you have in mind. Though it's not a good idea, but it is the way to work. If you're going to go that route, which I suggest you don't, but just for the sake of this exercise here you have to press Ctrl+K or Command+K on the Mac to bring up the Preferences dialog box and you have to make sure Export clipboard is turned on. So that you can copy the image and then when you switch over to Illustrator, you will export the clipboard over to Illustrator. So Illustrator has access to it. Normally though I need to tell you, I recommend you keep this checkbox off.

And you don't go copying and pasting between applications but anyway, go ahead and cancel out here because my Export clipboard is turned on. All right, then you do a Ctrl+A or Command+A on the Mac to select the entire image and Ctrl+C or Command+C on the Mac to copy it. Once again we're working inside of Photoshop here, if you don't have Photoshop, don't worry about it. But if you have any version of Creative Suite 4, you've got access to Photoshop, every single CSQ, if you will, includes both Photoshop and Illustrator. Isn't that interesting? As well as the Bridge. So those are your core applications. Now I'm going to Alt+Tab or on a Mac, Comamand+Tab back to Illustrator. I'm going to zoom out from this image and click here and press Ctrl+V or Command+V on the Mac to paste the image into the illustration.

Now why is this such a bad idea? Well Illustrator is not really designed to handle pixels. It's not an efficient program where pixels are concerned. Like Photoshop really is all about pixels. It's good at compressing the images. It's good at handling the images inside of its memory. Illustrator, not so much. It's bad at compressing effects. You get enormous files if you do copy and paste like this. And it's also, not really good at just managing pixels inside memory. So now if you want to get a sense of what's going on and we'll be visiting this palette quite a bit in the future, go up to the Window menu and choose Links.

That tells you what images are linked to your illustration and you can see that I have got this image right there, Sepia image.psd. It is linked to this illustration right here. Then we have this other one, the color version of the image that we just got done pasting, and it's not linked. Illustrator doesn't know its name. We've got this little icon right there that's showing us that this image is embedded inside of the illustration. So in other words, this guy right here is not going to be saved as a part of illustration. Look how big it is. 8.95 megabytes is huge and Illustrator knows and Illustrator knows all kinds of information about these linked images we'll see. Whereas it knows nothing about this thing that came in from clipboard. All it knows is that it's like a baby left at the doorstep. It can't turn it down.

It's become a big responsibility for it and you know it doesn't even know from where it came. It's going to handle the image, which might be another 8 megabytes, who knows how big it is, but it's going to be a burden for poor old Illustrator here. Anyway, I'm going to go ahead and close the Links palette and I'm going to move this image over here like this so it snaps into place. Let's actually drag by the corner so it snaps, there we go, to the Guides. However it's too big. I didn't scale it properly. So I need to scale it and I'll go ahead and grab my Scale tool because that works. You can do things to illustrations. You know big whole illustration modifications, just like you can to big old objects.

I will click in this corner right there to set the origin point and then I'll drag from down here until I snap the size of the image into alignment with this Guide intersection. That looks good. If I were to bring back my Layers palette here and move my image over on screen, then I could turn off the new image for a moment. There it is before so this is the final version, the Sepia image. That's kind of got this line drawing field to it as well. Then here it is now that I have gone ahead and imported the original image. So it's the right size, for you know what I don't know. I have no idea what the resolution of this image is.

Basically Illustrator knows nothing about this image because it came in from the clipboard. So I'm just operating on a wing and a prayer in this case because what are the things I'm going to need to do to this image is I'm going to need to sharpen its detail and sharpening, especially when you're sharpening for output, you want to know the resolution of that image. It really matters, it gets full detail. But you can check out why and my Photoshop sharpening images series tells you all about it. But when you're sharpening inside of Illustrator what you will need to do, because it ain't sharp right now, then we're just hoping for the best. You know we're just operating blind. And I'll show you what that blindness looks like if you will in the very next exercise.

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This video is part of

Image for Illustrator CS4 One-on-One: Advanced
Illustrator CS4 One-on-One: Advanced

149 video lessons · 21492 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 28m 41s
    1. Welcome
      1m 7s
    2. Installing the dekeKeys keyboard shortcuts
      8m 59s
    3. Resetting the Function keys on a Mac
      4m 47s
    4. Installing the CS4 color settings
      4m 20s
    5. Loading the CS4 color settings in Illustrator
      6m 3s
    6. Loading the CS4 color settings in Bridge CS4
      3m 25s
  2. 1h 53m
    1. From the simple emerges the complex
      42s
    2. Introducing Pathfinder operations
      4m 17s
    3. Editing a compound shape
      4m 39s
    4. Adding to a compound shape
      3m 11s
    5. Inserting a subpath into a compound shape
      3m 56s
    6. Expanding a compound shape
      4m 53s
    7. Assembling primitives
      4m 42s
    8. Preparing a template in Photoshop
      7m 0s
    9. Uniting paths permanently
      5m 40s
    10. Minus Front vs. Minus Back
      1m 55s
    11. Working with compound paths
      6m 49s
    12. When in doubt, divide
      3m 54s
    13. Divide and Unite
      3m 2s
    14. Open path pitfalls
      5m 35s
    15. Strokes bad, fills good
      4m 38s
    16. Advanced Divide and Unite
      8m 59s
    17. Using the Crop operation
      8m 30s
    18. Expert Divide and Unite
      8m 45s
    19. "Ghosting" shapes with Fill Opacity
      6m 45s
    20. Anticipating and troubleshooting
      8m 16s
    21. Exclude and Intersect
      7m 24s
  3. 44m 59s
    1. Familiar one moment, different the next
      1m 3s
    2. Snapping to anchor points
      5m 41s
    3. Aligning a group to the artboard
      3m 34s
    4. Distributing objects on the artboard
      4m 16s
    5. Setting the key object
      4m 54s
    6. Distributing objects by space
      3m 6s
    7. Distributing objects by selections
      3m 19s
    8. Aligning point text
      6m 7s
    9. Aligning live text vs. using outlines
      4m 58s
    10. Aligning key letters
      3m 35s
    11. Aligning to key objects
      4m 26s
  4. 1h 4m
    1. CS4’s gradient renaissance
      1m 7s
    2. Applying a gradient
      6m 0s
    3. Dragging and dropping color swatches
      2m 55s
    4. Using the Gradient palette
      6m 27s
    5. Designing a shaded gradient
      5m 9s
    6. Saving a gradient swatch and adding a texture
      4m 2s
    7. Introducing the new Gradient tool
      4m 39s
    8. Editing color stops inside a shape
      3m 26s
    9. Setting multiple gradients to the same angle
      5m 0s
    10. Adding and adjusting radial gradients
      7m 20s
    11. Making a transparent gradient
      7m 6s
    12. Adding drop shadows (a kind of gradient)
      6m 28s
    13. Blends vs. blend modes
      4m 38s
  5. 1h 17m
    1. Creating freeform color flows
      1m 0s
    2. The power of CS4's transparent gradients
      10m 25s
    3. Creating a gradient mesh
      4m 30s
    4. Expanding a gradient to a gradient mesh
      7m 40s
    5. Adding and deleting rows and columns
      6m 13s
    6. Selecting and coloring points
      6m 5s
    7. Assigning colors with the Eyedropper tool
      7m 42s
    8. Cool mesh editing techniques
      3m 56s
    9. Warping and puckering a mesh
      7m 24s
    10. Applying precise finishing touches
      5m 48s
    11. Gradient strokes
      9m 45s
    12. Gradient text
      6m 50s
  6. 55m 35s
    1. The first of the dynamic functions
      1m 4s
    2. Making a blend automatically
      5m 48s
    3. Fixing problem blends
      3m 56s
    4. Making a blend with the Blend tool
      3m 6s
    5. Cloning and coloring a blended path
      4m 37s
    6. Creating a mask
      3m 53s
    7. Blending between translucent shapes
      5m 30s
    8. Blending along a curve
      4m 34s
    9. Adjusting the speed of a blend
      2m 58s
    10. Filling and stroking a mask
      4m 36s
    11. Creating a compound clipping mask
      6m 3s
    12. Nesting one clipping mask inside another
      6m 7s
    13. Ghosting nested masks and blends
      3m 23s
  7. 1h 13m
    1. Patterns that repeat forever and ever
      51s
    2. Introducing tile patterns
      6m 36s
    3. Beginning a core design
      5m 6s
    4. Building an interlocking element
      6m 25s
    5. Achieving precise radial symmetry
      4m 46s
    6. Rotating duplicates around a common center
      3m 10s
    7. Determining how a pattern repeats
      9m 54s
    8. Coloring the core objects
      5m 0s
    9. Identifying the rectangular tile
      7m 14s
    10. Saving tile patterns
      7m 19s
    11. Applying tile patterns to a shape
      3m 25s
    12. Protecting patterns from transformations
      7m 36s
    13. Moving patterns without paths
      5m 51s
  8. 1h 19m
    1. Illustrator gets natural
      1m 15s
    2. Introducing the vector painting tools
      3m 16s
    3. Calligraphic brush options
      4m 3s
    4. Pressure sensitivity
      5m 17s
    5. Editing a calligraphic brush
      5m 53s
    6. Repainting and smoothing paths
      5m 30s
    7. Making the paintbrush behave
      6m 16s
    8. Erasing stroked paths
      3m 17s
    9. Painting with the new Blob brush
      6m 24s
    10. Refining filled paths with the Eraser
      4m 14s
    11. Painting independent paths
      3m 53s
    12. The Selection Limits Merge options
      3m 20s
    13. Applying and scaling an art brush
      6m 23s
    14. Snipping a brushed path
      4m 55s
    15. Colorizing an art brush
      4m 9s
    16. Heaping a stroke on an art brush effect
      4m 32s
    17. Creating a custom art brush
      6m 51s
  9. 1h 44m
    1. The computer art world’s dynamic duo
      1m 7s
    2. Copying and pasting pixels from Photoshop
      7m 21s
    3. Linking is efficient, embedding is not
      2m 47s
    4. Editing an image in Illustrator
      7m 30s
    5. Filtering an image in Photoshop
      6m 34s
    6. Adding a filter mask in Photoshop
      6m 25s
    7. Masking a woman from the background
      3m 49s
    8. Creating a sepia effect
      6m 37s
    9. Adding a second gradient map layer
      2m 13s
    10. Achieving a graphic effect with Levels
      8m 10s
    11. Preparing an image for use in Illustrator
      5m 46s
    12. The importance of image resolution
      9m 40s
    13. Placing and linking images
      4m 43s
    14. Managing linked images
      6m 18s
    15. Integrating an image into a design
      5m 12s
    16. A better way to wrap text
      7m 28s
    17. Previewing the trim size
      4m 25s
    18. Layer comps and editable text
      8m 42s
  10. 2h 11m
    1. Transparency is safe and fun
      1m 27s
    2. Introducing the translucent composition
      4m 39s
    3. Assigning opacity to an Appearance attribute
      3m 41s
    4. Creating a knockout group
      5m 7s
    5. Defining an opacity mask
      7m 15s
    6. Using the Clip checkbox
      2m 41s
    7. Opacity mask tips and tricks
      3m 20s
    8. The Multiply blend mode
      6m 8s
    9. Adding to an existing opacity mask
      7m 53s
    10. Blending between parallel groups
      7m 27s
    11. Creating a gradient opacity mask
      4m 54s
    12. Employing an opposing gradient mask
      7m 57s
    13. Combining Multiply and Screen
      3m 49s
    14. Blend mode roundup
      5m 24s
    15. Mixing blend modes inside a single path
      3m 48s
    16. Blend mode and transparent gradient
      3m 49s
    17. Masking an entire layer
      7m 0s
    18. Combining Screen with 100K Black
      7m 43s
    19. Knocking out a drop shadow
      5m 18s
    20. But will it print?
      3m 8s
    21. Working with the Flattener preview
      8m 44s
    22. Rasterizing an illustration in Photoshop
      9m 16s
    23. Super-rich blacks and raster effects
      3m 35s
    24. Exporting TIFF artwork from Illustrator
      7m 48s
  11. 58s
    1. Until next time
      58s

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