Illustrator CS4 One-on-One: Advanced

Exporting TIFF artwork from Illustrator


Illustrator CS4 One-on-One: Advanced

with Deke McClelland

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Video: Exporting TIFF artwork from Illustrator

All right everyone, welcome to the final exercise in the advanced portion of this series, in which I'm going to show you how to export your artwork from inside Illustrator to a raster file format, namely the Tiff format. I've gone ahead and fixed my document as we saw in the previous exercise and saved my changes as Rich found inside the 21_transparency folder. Now in order to save this is as a raster file, which I hasten to say is the right way to go because the entire darn thing is going to get rasterized anyway. We saw that in the Flattener Preview palette. So why not go ahead and rasterize it in a controlled environment, so that we can see what the final artwork looks like and we can confirm that it looks the way that we want it to.
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  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
    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
    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

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Watch the Online Video Course Illustrator CS4 One-on-One: Advanced
12h 54m Intermediate Jul 09, 2009

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Knowing the fundamentals of drawing and reshaping paths is only part of the story. In Illustrator CS4 One-on-One: Advanced, the second of the popular One-on-One series, computer graphics expert Deke McClelland covers some of Illustrator's most powerful and least understood features. He shows how to merge simple shapes to create complex ones with the Pathfinder palette, as well as align paths to create schematic illustrations. Deke explains how to paint fluid, multicolor fills with blends, and the new and improved gradient tool. He explores seamlessly repeating tile patterns, blobs and brushes, and imported images. He also dives into one of the deepest features in all of Illustrator, transparency. Exercise files accompany the tutorial.

Recommended prerequisite: Illustrator CS4 One-on-One: Fundamentals.

Download Deke's customized keyboard layouts and color settings for Illustrator from the Exercise Files tab.

Topics include:
  • Working with compound shapes in the Pathfinder palette
  • Ghosting shapes with Fill Opacity
  • Understanding gradients and the gradient tools
  • Cloning and coloring a blended path
  • Saving tile patterns and applying them to a shape
  • Importing and linking images from other applications
Deke McClelland

Exporting TIFF artwork from Illustrator

All right everyone, welcome to the final exercise in the advanced portion of this series, in which I'm going to show you how to export your artwork from inside Illustrator to a raster file format, namely the Tiff format. I've gone ahead and fixed my document as we saw in the previous exercise and saved my changes as Rich found inside the 21_transparency folder. Now in order to save this is as a raster file, which I hasten to say is the right way to go because the entire darn thing is going to get rasterized anyway. We saw that in the Flattener Preview palette. So why not go ahead and rasterize it in a controlled environment, so that we can see what the final artwork looks like and we can confirm that it looks the way that we want it to.

Go up to the File menu and choose the Export command, and this is just an alternate to opening the files inside of Photoshop. It's not a better way to work. It's not a recommended way to work, or anything like that. In fact, I prefer to use Photoshop to rasterize my artwork just because it does a better job on the anti-aliasing, as we'll see in just a moment. All right, inside of this Export dialog box, I want you to change Save File As type to Tiff, but I'll say this. If you encounter some kind of problems, you may have luck by changing your file format. For example, the very first time I tried this with this file right here, I ended up saving out a Tiff file that dropped a lot of the elements and it basically it just featured Sammy's face floating against the backdrop and that was it. So I'll lose all of the other elements like the bench and the piano and all that jazz.

Then I went ahead and exported the artwork as a JPEG file, it worked great and then I came back to Tiff, and it work great too. So who knows? You may have luck with that but hopefully, you won't have any problems whatsoever. I'm going to go ahead and choose the Tiff file format. Make sure Use Artboards is turned on. That's going to give you a better effects because otherwise, you're going to have a bunch of extra stuff outside of the artwork and what's the point of that. Then go ahead and name your file as desired and click the Save button. Inside the Tiff Options dialog box, which comes up next, make sure Color Model is set to CMYK. I suggest that rather than setting the Resolution to High or never Medium, you want to set it to Other and then raise that value to at least 600ppi, pixels per inch, not dpi. A dpi is a measurement of printer resolution. But anyway, it's either going to be 600 or as high as 1200, is what I recommend to you.

Then Anti-Alias on, LZW Compression definitely on, Byte Order does not matter and then Embed ICC Profile turn that on and then click OK in order to begin saving out the file. Now you're going to get this Progress bar. It's going to take a few minutes in order to save out your file. I'm going to go ahead and click Stop and by the way, if it goes by too fast, if it goes zip, zip, zip, expect the artwork to be in bad shape because that means that Illustrator without telling you what's going on, without producing any error messages, drop some objects. I'm just going to click Stop because I've already exported the artwork in advance. I'm going to now press the Windows key along with the Tab key here on the Windows environment, in order to get this wonderful thing and then I'm going to keep pressing Windows +Tab until I get to Photoshop here.

On the Mac, you would press Command+ Tab to switch between applications. Here I'm inside of Photoshop and I have two versions of the image open. First of all, we've got Photoshop raster 600ppi.tif which is the version of the file that we rasterized inside of Photoshop a couple of exercises ago. So this was the bad old version of the illustration. And then we now have Correct & export 600ppi.tif, which is the new and improved version that I just so happened to export from Illustrator. But what really matters is that we've corrected the illustration before exporting it. I'm going to go ahead and zoom in on the image on right until I'm seeing it at the 50% zoom level. Then I'm going to go up to the Window menu, choose Arrange and choose Match Zoom, so that both images are zoom to the same level. Then I'm going to take advantage of this really wicked cool keyboard shortcut, you press Shift and Spacebar, so both Shift and Spacebar to get the Hand tool and then with those keys down, you can drag one image and you'll scroll both of them together. Let's thanks to having the Shift key down that you can see that on left, I have these faint lines inside of Sammy's jaws. On right, they've gone away, excellent. Shift+Spacebar drags some more in order to check out the stumps down here below the piano.

The stumps are slightly faintly evident in the left-hand image. They are gone in the right-hand image. Excellent. All right, then I'm going to Shift+Spacebar drag my way up to the drop shadows and you know what? I need to zoom in, so I'll press Ctrl+Plus a couple of times on the right-hand image. That's Command+Plus on the Mac. Then I'll go back to the Window menu, choose Arrange and choose Match Zoom again in order to match to that same zoom level. You can see that sure enough, we have some chunky drop shadows over here on the left-hand side and nice smooth drop shadows over here on the right-hand side.

I don't know that you're even going to notice the resolution of the shadows and print, but you will notice this harsh cut-off right there, this sharp drop-off whereas it starts to go away at higher resolution. So if you wanted to go away even more, you would raise that resolution for the document raster effect settings to 300 pixels per inch or even higher. You could take it all the way to 600 pixels per inch if you want to. So give that a try, see what you think. You know something else I want you to notice while we are here. I'm gong to go ahead and zoom in even further like that and do that Window > Arrange > Match Zoom thing, so that I match the two zoom levels and I want you to notice the anti-aliasing.

Let's see if you can get a good shot of this anti-aliasing right here, this is a good area. All right, so you see that stroke how it wavers back and forth and then we have some slightly choppy anti -aliasing out of Illustrator and some smoother anti-aliasing out of Photoshop. So the artwork that was open in Photoshop is smoother than the artwork that was exported from Illustrator. By the way, the artwork that's saved from Photoshop is also going to be smaller. Photoshop does a better job of applying LZW Compression than Illustrator does.

So once you've open the artwork in Photoshop, you may want to go ahead and save over the original artwork with that LZW Compression turned on in order to get a smaller file. Let's go ahead and scroll upward to a higher point in the document. Now the thing is normally inside of a Photoshop you can toss the image around, they call it flick panning. You can't do it when you're scrolling multiple documents at a time though. So you just kind of have the scroll your way up to a different portion of the image over and over again, especially when we're zoomed in like this. Now you can see in this region that we have a very smooth drop shadow or relatively smooth drop shadow over here on the right-hand side and a choppy drop shadow on the left-hand side, but again smoother anti-aliasing on the left, a little bit choppier on the right.

Now I doubt you're going to notice that in print. This is such a high resolution image. In the first place, you almost don't need any anti-aliasing but still it's a slight concern I believe. All right, but what's even more important than anything else on earth is the fact that, whether it was exported from Illustrator or was open inside of Photoshop, this image is going to print reliably. It's going to print exactly the way you see it here, because there is no post script intervention, there is no mixing of objects, there is no Flattener Preview stuff to worry about. It's just a bunch of pixels. So all of that work has been done. The only thing that could wrong at this point is that somehow your colors could go awry.

Thanks to whatever color settings that you have set up, but otherwise this artwork is going to print exactly as you see it. I advise you work this way with all of your illustrations. Really honestly, this is the way I do just about everything anymore and there you have it, folks. This brings us to the end of the advanced portion of this series. If you liked what you saw and you want to learn more, I have much more for you. Just check out Illustrator CS4 One-on-One Mastery. If it's not available today, it will be soon and I have much, much more to share with you. So please stay tuned.

Find answers to the most frequently asked questions about Illustrator CS4 One-on-One: Advanced .

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Q: In the lesson on pressure sensitivity, exactly what kind of Wacom tablet is the instructor using?
A: The instructor is using a Wacom Intuos 3 tablet
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