Illustrator CS4 One-on-One: Advanced

Managing linked images


Illustrator CS4 One-on-One: Advanced

with Deke McClelland

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Video: Managing linked images

Now I know at the end of the previous exercise I said we were going to smooth over the transition between this lopped off image without a shoulder and the rest of the vector objects by introducing a little bit of filigree. However I think it's important to take a moment out in order to explain how to manage your linked images here inside Illustrator. So let me introduce you to the various linking option that are available to you. I'm going to go the Layers palette, twirl open the image layer, and meatball Sepia image.psd. So I have the image selected here inside the illustration window. Then notice that I see a couple of different links.
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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

Viewers: in countries Watching now:

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

Managing linked images

Now I know at the end of the previous exercise I said we were going to smooth over the transition between this lopped off image without a shoulder and the rest of the vector objects by introducing a little bit of filigree. However I think it's important to take a moment out in order to explain how to manage your linked images here inside Illustrator. So let me introduce you to the various linking option that are available to you. I'm going to go the Layers palette, twirl open the image layer, and meatball Sepia image.psd. So I have the image selected here inside the illustration window. Then notice that I see a couple of different links.

Linked File, which is going to bring up the Links palette, and Sepia image.psd, which gives me direct access to a few commands that I can apply to this linked image right here. And so I'm going to go ahead and click on that item to bring up a menu and I started things off with Relink, which allows me to link this image to a different image on disk. So I can go ahead and swap out images, if I want to. If I'm working inside of a document that contains all sort of linked images and multiple Artboards and I'm not exactly sure where a specific item that I have selected is located, then I can go ahead and choose Go To Link in order to center that linked image right there inside of the illustration window.

So that's great when you have a lot of links going on. I'll go up to that option again and choose Edit Original. Which will go ahead and open the image inside of it's originating application, which in our case is Photoshop. Then you can make some changes, you would save changes, you would go back to Illustrator and presumably the application would go ahead and ask, if you wanted to update your modifications which of course presumably you do. I will go ahead and click on this link again. We have got Update Link just in case Illustrator wasn't wise to your modifications. You could force an update like so. Placement Options is quite interesting in my opinion. It allows you to determine how one image is replaced with another. So I'll go ahead and choose that option. This also applies to updates incidentally.

So by default Illustrator is going to go ahead and Preserve the Transforms, by which it means any scaling that you have applied. And that's why when we replace the 267 ppi image with 220 ppi version of itself a couple of exercises ago. It stays at the same size because the scale was preserved, thanks to this Transform setting. So this is the default setting inside Illustrator and by the way if you want to understand this little graphic here. The palm tree is replacing the dunes. So the dunes was a horizontal image. It's getting replaced with the palm tree.

What's going to happen, why, whatever scale has been applied to the dunes is going to get applied to the palm trees. But Illustrator is not going to make any attempt to make sure that the palm tree is the same size. Whereas if you choose Proportions(Fit) it's going to put in there all the way it's going to scale it down like so it fits into the dune. Whereas if you choose Proportions(Fill) it's going to fill up the entire area consumed by the dunes which means it may have to get larger. It's definitely going to get bigger than the dunes in some way, shape or form.

You also have the option of retaining the original File Dimensions, which were that the setting when we had updated to 220 ppi image. It would have grown inside of our composition. This is my favorite setting by the way, this is the one I use. Then finally you have the worst possible setting ever. This is going to squish the image into the old frame, which is just a bad idea. So I recommend you stick with Transforms or if you are me, you would work with File Dimensions because me, I make sure that I scale my files inside of Photoshop before I bring them over to Illustrator and that's what I'm recommending you do as well.

Now I'll click OK to accept that modification. Finally under this menu you have Link Information, which brings up this little Link Information dialog box, as opposed to the big Link File Info dialog box, a big XMP multipanel dialog box, where we saw that weird TIF information. But anyway we'll see the Name of the file, where it's located on disk, which for me is on my D drive. How big it is and what kind of file it is when it was created, when it was updated and so on the transformation that's been applied. Go ahead and click OK in order to just accept that FYI. There is nothing you can do inside that dialog box. You just find out the good stuff.

You got buttons if you want to you can embed this image into the illustration, so it's no longer linked which means your file is going to grow. It's going to really balloon. Not my favorite solution but there it is Edit Original we already saw that it's going to edit the original in the originating application which would Photoshop in our case. Live Trace allows you to trace the image with vectors and we'll be seeing how that function works very exciting feature that we'll see inside the mastery portion of the series. And then over here in the Linked File, we'll go ahead and bring up the Linked palette, same as choosing the Links command from the Window menu and these buttons down here just duplicate functions we have already seen. Relink, we have got a Go To Link, we have got Update Link and we have got Edit Original. So that there as well. I think they are easier to get to from that little guy, but it's up to you. If you bring up the fly-out menu, you will see yet again more duplicates of those same commands. You also have the option of embedding if you want to. Here is the Link File Info command that brings up that XMP panel. And the reason this is useful disk by the way is so you can find information if there is Description info.

So copyright information all kinds of good stuff, if somebody is going ahead and taking the time to annotate the image always a good idea you can go to the URL If you want to, and you can check out just all kinds of other info about the original image. I'm going to click OK and finally let's say you lose an image. Now this is very, very important. If you are linking to a bunch of images from your illustration and you take that illustration to get printed by a commercial printer, you have to have all those linked images with you because if you don't have one with you. It won't print properly. And if you are lucky your commercial printer will scold you and tell you, you have made a mistake and then you'll go back and fix it, and if you are not lucky you just won't have that image and your print shot will get ruined. It's a terrible thing.

So if you lose track of one of these files and just you can't figure out where it is in on your hard drive, then click on the fly-out menu icon and choose Reveal in Bridge and that will go ahead and reveal the image inside the Bridge and show you the path of that image over here in the folders tree and up at the top of the screen. So there you have it in the nutshell links management inside Illustrator CS4.

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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