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Preparing an image for use in Illustrator

From: Illustrator CS4 One-on-One: Advanced

Video: Preparing an image for use in Illustrator

All right, so you are finished with all your image manipulations here inside of Photoshop. And yes, I like the little cracklies inside of the whites of the eyes. I think they look great. What do you do now? If you want to take this composition and place it in Illustrator, and you know you are not going to copy and paste it and embed it in Illustrator, you are going to go ahead and place the file. But how do you get it to a point that it's ready for Illustrator to use? Well, you could just take this layer composition if you wanted to, and I have gone ahead and saved my progress as Colorized chic.psd. You could place it directly into Illustrator as is but that would be giving Illustrator more information than it needs, and you would require more of Illustrator than you would want.

Preparing an image for use in Illustrator

All right, so you are finished with all your image manipulations here inside of Photoshop. And yes, I like the little cracklies inside of the whites of the eyes. I think they look great. What do you do now? If you want to take this composition and place it in Illustrator, and you know you are not going to copy and paste it and embed it in Illustrator, you are going to go ahead and place the file. But how do you get it to a point that it's ready for Illustrator to use? Well, you could just take this layer composition if you wanted to, and I have gone ahead and saved my progress as Colorized chic.psd. You could place it directly into Illustrator as is but that would be giving Illustrator more information than it needs, and you would require more of Illustrator than you would want.

It basically increases processing time and what's the point of that. We might as well distill everything down to a single layer if possible. And then you want to presumably convert the image from RGB to CMYK, since we are working inside of a CMYK illustration in Illustrator. And then finally, you would want to save the image out as a separate PSD document so you don't lose your work. All right, so here is how that works. That's what we are going to be doing inside this exercise. Now there's two different ways to approach this image, one, if it has a background layer. So if at the bottom of the Layers palette, you see a layer called background in italics, and it has tons of other pixels going on. It has got a photograph or something like that.

And you want to preserve all that information, then you would go up to the Layer menu and choose the Flatten command in order to merge everything. And my Deke keys for Photoshop, which is available along with my Photoshop CS4 One-on-One series that's part of the lynda.com Online Training Library. That file gives you a keyboard shortcut of Ctrl+Shift+Alt+F or Command+Shift+Option+F on the Mac for Flatten. So that you can flatten the image to just a bunch of flat pixels, you end up with a rectangular image, no transparency. So that's one way to work. That's not what we are going to do in our case.

If you have a background layer that has nothing on it, it's just white, that would be in a different composition, one that you are creating on your own. You would click on that background layer and you would press the Backspace key or the Delete key on the Mac to get rid of it. And then without a background layer, you would then go up to the Layer menu, and choose Merge Visible, which does have a keyboard shortcut regardless of whether you loaded Deke keys or not. And it's Ctrl+Shift+E, Command+Shift+E on the Mac. But anyway, choose Merge Visible and you get this effect right here. Now in my case, it's going to be called B or W because it's named after whichever layer was selected, but you can call it anything you want. I'll just call it image, let's say, and that's all.

Now then, our next issue is that we are working inside of an RGB image as you typically are inside of Photoshop. So every digital photograph begins in RGB, which is red, green, blue. However, if you are going to bring the image into the CMYK illustration as we are, this is not something you absolutely have to do because Illustrator will take care of the transformation from RGB to CMYK on the fly. It will take care of that conversion for you. But you might get better results out of some operations inside of Illustrator and you are going to get a bigger smile on your commercial printer's face, if you go ahead and make sure that this image is converted to CMYK inside of Photoshop. So to do that, go up to the Image menu, choose Mode, and choose CMYK Color. And this by the way assumes that you have a defined RGB space and a defined CMYK space as you do if you loaded my Best Workflow CS4 settings way back when.

So if you have got those settings that we loaded back in the Bridge, then you will be performing a proper conversion. So you would go ahead and choose CMYK Color. You are going to get a message however telling you that this is not the only way to work, you can also use the Edit > Convert To Profile command if you want to convert to a different CMYK profile. That's not a problem for us, so just go ahead and click OK. And we'll retain the layered image, which is very important, but it is now converted to CMYK. So we still have our checkerboard transparency in the background. If you switch over to the Channels palette, you are going to see that you have got a CMYK image. Instead of RGB you now have Cyan, Magenta, Yellow and Black channels.

You also have the two alpha channels. Let's go ahead and click on one, Shift-click on the other and then Alt- click or Option-click on the Trash Can to avoid the error message. So again, I'll do that since I just decided to raise through that. What I did was this, I clicked on hair mask, I Shift-clicked on filter mask, so they are both selected, something you can do in Photoshop CS4 that you couldn't do in the old days. You can select more than one mask at a time. And then notice if you click on the Trash Can, you are going to get a warning. That's why I recommend you Alt-click or Option-click on the Mac to bypass the warning.

Now go back to the Layers palette, now we are ready to save. What I want you to do is go up to the File menu, don't choose the Save command because you will overwrite your original image that has all the layers intact, and you don't want to do that because you will destroy the layers. They are not imaginary. They are real things that existed that you got rid of. So you need to choose Save As or Ctrl+ Shift+S if you like. And then what I'm going to suggest you do is save the image to this file right there, Sepia image.psd, go ahead and save over it. That's just fine. But make sure the Format is set to PSD, or you can also work with TIFF if you want. TIFF also supports transparency between Photoshop and Illustrator. But I think your best bet when in doubt is to just go with PSD.

Make sure to save the layers. Do not turn that checkbox off. And then you do want to save your ICC Profile that's also very important. And then Lower Case Extension doesn't really matter, but I leave it turned on here on the PC, and then click Save. Now in my case it's going to ask, do I want to replace the original? I say okay, I do because I want to show you what that looks like when we switch back to Illustrator, and import this image 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 · 21513 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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