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Illustrator CS3 One-on-One: The Essentials
Illustration by John Hersey

Placing an image as a template


From:

Illustrator CS3 One-on-One: The Essentials

with Deke McClelland

Video: Placing an image as a template

All right kids, if you're following along with me, you should have open a document called 4-Mishi drawing.ai. It's found inside the 07_pen_tool folder and then inside of a subfolder called Mishipizheu. No, not Machu Picchu, but rather Mishipizheu. All right now that you have the document open and ready to go and you understand what we're dealing with here, I want to show you how to import a scanned image or digital photograph, in our case, same difference, into an illustration as a tracing template. So I'm going to go ahead and take the template layer that resides inside of this document right now and I'm going to throw it away so that I can show you how to re-create it, don't you know.
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  1. 59m 53s
    1. Welcome to Illustrator CS3 One-on-One: The Essentials
      2m 0s
    2. The unwelcome Welcome screen
      6m 35s
    3. Browsing Illustrator artwork
      4m 53s
    4. Bridge workspaces and favorites
      6m 8s
    5. The anatomy of an illustration
      7m 2s
    6. Examining a layered illustration
      5m 38s
    7. Customizing an illustration
      5m 21s
    8. Creating a new document
      6m 12s
    9. Changing the document setup
      6m 51s
    10. Saving a document
      6m 14s
    11. Closing multiple files
      2m 59s
  2. 1h 3m
    1. Preferences, color settings, and workspaces
      55s
    2. Keyboard Increment and Object Selection
      5m 52s
    3. Scratch Disks and Appearance of Black
      6m 43s
    4. Establishing the best color settings
      5m 35s
    5. Synchronizing color settings in Bridge
      4m 3s
    6. The new CS3 interface
      3m 55s
    7. Organizing the palettes
      9m 4s
    8. Saving your workspace
      2m 33s
    9. Zooming and scrolling
      3m 39s
    10. Using the Zoom tool
      5m 27s
    11. The Navigator palette
      3m 37s
    12. Nudging the screen image
      2m 50s
    13. Scroll wheel tricks
      3m 11s
    14. Cycling between screen modes
      5m 56s
  3. 1h 4m
    1. Why learn Illustrator from a Photoshop guy?
      1m 32s
    2. Introducing layers
      4m 37s
    3. Creating ruler guides
      6m 34s
    4. Creating a custom guide
      3m 28s
    5. Organizing your guides
      5m 50s
    6. Making a tracing template
      3m 34s
    7. Drawing a line segment
      4m 10s
    8. Drawing a continuous arc
      4m 17s
    9. Drawing a looping spiral
      5m 17s
    10. Cutting lines with the Scissors tool
      6m 45s
    11. Aligning and joining points
      7m 58s
    12. Drawing concentric circles
      3m 45s
    13. Cleaning up overlapping segments
      6m 21s
  4. 1h 9m
    1. The anatomy of a shape
      1m 1s
    2. Meet the Tonalpohualli
      4m 8s
    3. Meet the geometric shape tools
      3m 47s
    4. Drawing circles
      6m 36s
    5. Snapping and aligning shapes
      7m 0s
    6. Polygons and stars
      7m 0s
    7. Rectangles and rounded rectangles
      6m 16s
    8. The amazing constraint axes
      6m 30s
    9. Grouping a flipping
      7m 37s
    10. Combining simple shapes into complex ones
      6m 36s
    11. Drawing with Scissors and Join
      6m 3s
    12. Cutting and connecting in Illustrator CS3
      3m 49s
    13. Tilde key goofiness
      2m 55s
  5. 1h 22m
    1. Three simple ingredients, one complex result
      33s
    2. Introducing Fill and Stroke
      3m 42s
    3. Accessing color libraries and sliders
      7m 8s
    4. Using the CMYK sliders for print output
      5m 6s
    5. Using the RGB sliders for screen output
      4m 39s
    6. Color palette tips and tricks
      4m 46s
    7. Creating and saving color swatches
      4m 14s
    8. Trapping gaps with rich blacks
      7m 58s
    9. Filling and stacking shapes
      5m 17s
    10. Dragging and dropping swatches
      6m 16s
    11. Paste in Back, Paste in Front
      5m 43s
    12. Filling shapes inside groups
      5m 16s
    13. Pasting between layers
      3m 34s
    14. Joins, caps, and dashes
      5m 50s
    15. Fixing strokes and isolating your edits
      7m 35s
    16. Creating a pattern fill
      4m 38s
  6. 1h 22m
    1. The power of transformations
      1m 25s
    2. From primitives to polished art
      4m 4s
    3. Clone and Duplicate
      6m 15s
    4. Moving by the numbers
      4m 16s
    5. Using the Reshape tool
      6m 30s
    6. Modifying, aligning, and uniting paths
      7m 0s
    7. Using the Offset Path command
      4m 25s
    8. Styling and eyedropping
      4m 11s
    9. The wonders of the translucent group
      5m 37s
    10. Making a black-and-white template
      3m 48s
    11. Scaling and cloning shapes
      4m 26s
    12. Enlarging and stacking shapes
      5m 6s
    13. Positioning the origin point
      6m 50s
    14. Using the Rotate and Reflect tools
      5m 16s
    15. Series rotation (aka power duplication)
      4m 3s
    16. Rotating by the numbers
      5m 15s
    17. Rotating repeating pattern fills
      4m 32s
  7. 1h 4m
    1. Points are boys, control handles are girls
      2m 16s
    2. Tracing a scanned image or photograph
      4m 34s
    3. Placing an image as a template
      5m 32s
    4. Drawing a straight-sided path
      5m 36s
    5. Moving, adding, and deleting points
      5m 51s
    6. Drawing spline curves with Round Corners
      7m 56s
    7. Smooth points and Bézier curves
      8m 12s
    8. Defining a cusp between two curves
      4m 37s
    9. Adjusting handles and converting points
      7m 4s
    10. Cutting, separating, and closing paths
      7m 31s
    11. Eyedropping template colors
      5m 11s
  8. 1h 28m
    1. Paths never rest
      1m 42s
    2. Meet Uzz, Cloying Corporate Mascot
      2m 22s
    3. Exploring the Appearance palette
      5m 37s
    4. Snip and Spin
      7m 28s
    5. Adding a center point
      3m 57s
    6. Keeping shape intersections
      3m 8s
    7. Lifting fills and selecting through shapes
      4m 14s
    8. Saving and recalling selections
      5m 18s
    9. Rotating is a circular operation
      7m 35s
    10. Lassoing and scaling points
      6m 8s
    11. Using the Transform Each command
      5m 9s
    12. Using the Magic Wand tool
      6m 46s
    13. Converting paths and text to rich black
      2m 27s
    14. The overwrought lace pattern
      3m 21s
    15. Eyedropping Live Effects
      5m 39s
    16. Merging strokes with a compound path
      6m 32s
    17. Selecting and scaling independent segments
      6m 30s
    18. Pucker & Bloat
      4m 49s
  9. 1m 59s
    1. See ya for now
      1m 59s

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Illustrator CS3 One-on-One: The Essentials
9h 36m Beginner May 18, 2007

Viewers: in countries Watching now:

Adobe Illustrator has long been the most popular and viable vector-drawing program on the market but, for many, the learning curve is steep. In Illustrator CS3 One-on-One: The Essentials , author and leading industry expert Deke McClelland teaches the key features of Illustrator in a way that anyone can understand. He also goes beyond that, showing users how to get into the Illustrator "mindset" to make mastering Illustrator simple and easy. The training covers how to use the core drawing and shape tools, the transformation and reshaping features, text and gradients, and color management and printing features. Even if learning Illustrator has been a struggle in the past, this time it is going to make sense. Exercise files accompany the training.

Subject:
Design
Software:
Illustrator
Author:
Deke McClelland

Placing an image as a template

All right kids, if you're following along with me, you should have open a document called 4-Mishi drawing.ai. It's found inside the 07_pen_tool folder and then inside of a subfolder called Mishipizheu. No, not Machu Picchu, but rather Mishipizheu. All right now that you have the document open and ready to go and you understand what we're dealing with here, I want to show you how to import a scanned image or digital photograph, in our case, same difference, into an illustration as a tracing template. So I'm going to go ahead and take the template layer that resides inside of this document right now and I'm going to throw it away so that I can show you how to re-create it, don't you know.

And now I'm going to go up to the File menu. I invite you to do the same thing if you'd like, and choose the Place command. Once again direct your attention to that Mishipizheu folder that's inside of the 07_pen_tool folder. Therein you will find a document called 3-Mishi painting.jpg, which is the digital photograph of my acrylic under-painting that I created before I botched the whole project. And notice a couple of checkboxes that we're seeing down here in lower corner. We've got a Link checkbox that tells Illustrator to link to the file on desk. If you're worried about losing that file on disk and you don't want to ruin the link in the future, you could turn off the Link checkbox, in which case you will embed the image into Illustrator.

I suggest you don't do that. When in doubt, go ahead and leave the Link checkbox on, that way you'll create smaller files inside of Illustrator. But you definitely need to turn on the Template checkbox, and then click on the Place button, Now by virtue of the fact that I turned on that Template checkbox, Illustrator did a couple of things for me. One: it created a new layer. Two: it created that new layer in back of my existing layer so at back of the stack. Three: it went ahead and added the image, the digital photograph here as a linked file to this template layer, and it went ahead and automatically dimmed the image and it went ahead and locked it too. So did I say it did a couple things? I did like 17 things, all of which are really, really useful. Now it didn't actually center the image properly. Notice that. If I go ahead and close my palettes for a moment, if I collapse them, you can see that things are not aligned properly. Pretty poor job in fact, on my screen. On your screen it may have just nailed it, you never know with Illustrator. Anyway, so here's what we're going to do.

If you've got an alignment problem as I do, expand your dock once again. Go ahead and unlock this template layer by clicking on it's lock icon so that you know, it goes away. And when you do notice that you'll see a little Align link up here inside of the Control palette. I'm going to, just so that we can see what we're doing a little better, I'm going to collapse my palettes once again. Then I'm going to click on that Align link in order to bring up the Aligned palette and you're going to want to go ahead and turn on this Align To Artboard icon right there, and just to make sure you've got the right setting, go ahead and click the down-pointing arrowhead and choose Align to Artboard, because that's what we want to do, we want to align the creature to the artboard.

Then click on the Horizontal Align Center icon and then click on the Vertical Align Center icon and now everything is perfectly aligned. Phew. All right, now let's bring back the palettes, why don't we? I'm going to go ahead and double-click actually on this template layer because I want to rename it, for one thing. I'm going to go ahead and call it template of course, because that's what it is. We don't need to know what the original linked file is called. Notice that it's set to a Template and what that means, I'll show you in a second, but what that means is it's not only dimming the image and only images, this image function down here, Dim images to only affects imported pixel-based images. It doesn't affect vectors. For that you have to resort to the opacity values, which we've done several times in previous chapters.

Anyway, this Template checkbox right there, that goes ahead and ensures that what ever is on the template layer is visible in both the Preview and Outline mode, and as I say, I'll show that to you in a minute. Dim images to, I want you to set that to 35%, just so that we dim things down a little bit more and then click OK. Aww. That's very nice, I think. Notice that the image is a little less opaque than it used to be a moment ago. So this was before and this here is after. Now as I was telling you, I'm going to go ahead and click off of this image to deselect it. As I was telling you, you can see this image both in the Outline and Preview mode, and just to show you that that's the case I'll go up to the View menu and choose Outline and were there any paths inside of my document that would send them all to outlines of course, but we can still see the image, so we can still trace the image. Really, really helpful function and that is once again a function of having that Template checkbox on, and you can tell you've got a template cause you can see this little collection of shapes right there in the eyeball column. I'm going to just go ahead and switch back to the Preview mode by pressing Control+Y or Command+Y on the Mac, which is the keyboard shortcut of course, for that Preview command under the View menu, and we are ready to go folks, except for one more thing.

You need to lock down that template once again. So click and lock and then click on the drawing layer. We're now ready to trace this mythical Ojibwe creature using the incredibly powerful Pen Tool in the next exercise.

Find answers to the most frequently asked questions about Illustrator CS3 One-on-One: The Essentials.


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Q: When trying to synchronize color settings between all Creative Suite programs in Bridge, the Creative Suite Color Settings command either does not appear in the Edit menu or does not work. What is causing this?
A: If the Color Setting command is not available or does not function, it's because Bridge thinks that a single application (such as Photoshop or Illustrator), is installed and not one of the many versions of the Creative Suite.
If only Photoshop or Illustrator is installed, skip the exercise and move on.
If the entire Creative Suite is installed, then, unfortunately, there is no easy fix. Either contact Adobe or completely reinstall the Creative Suite.
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