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Rasterizing your artwork in Photoshop

From: Illustrator CS5 One-on-One: Advanced

Video: Rasterizing your artwork in Photoshop

I have gone ahead and reverted to the saved version of Knot number 3.ai found inside that 21_photoshop folder and then in this exercise, we really are going to check out Photoshop. We are going to rasterize this graphic inside Photoshop, and you may recall that by rasterize, I mean we are going to take a bunch of vectors like we have here inside of Illustrator and we are going to convert them to pixels inside Photoshop. Now you may wonder why in the world would you do that? Are you out of your mind? After all these vectors are going to print at the full resolutions of the output device which could have like 2540 dots per inch or even more than that and we are going to get this insane quality out of this graphic, whereas if we take it in the Photoshop, then we are converting it to pixels and then we have resolution issues and the results could be jagged.

Rasterizing your artwork in Photoshop

I have gone ahead and reverted to the saved version of Knot number 3.ai found inside that 21_photoshop folder and then in this exercise, we really are going to check out Photoshop. We are going to rasterize this graphic inside Photoshop, and you may recall that by rasterize, I mean we are going to take a bunch of vectors like we have here inside of Illustrator and we are going to convert them to pixels inside Photoshop. Now you may wonder why in the world would you do that? Are you out of your mind? After all these vectors are going to print at the full resolutions of the output device which could have like 2540 dots per inch or even more than that and we are going to get this insane quality out of this graphic, whereas if we take it in the Photoshop, then we are converting it to pixels and then we have resolution issues and the results could be jagged.

Why would we do such a thing? Well, it's an insurance policy. It's basically what it comes down to. This graphic is basically, pretty darn and complicated from a print perspective, and there is a lot that could go wrong with it, because we have so many dynamic effects. By the way, the biggest problem based on my copious experience in this department, the thing that's mostly likely to go wrong with this illustration is the gradients. Some little bit or chip or part of a gradient can just drop out on you during the printing process and we have a lot of gradients going on.

We have got this radial gradient, this big one in the background. Then we have got all these gradients inside of these circles inside the circles and then the little circles have different gradients inside them by the way. And then we have got all the gradients that are inside of this live paint object. That's just asking for trouble, to send this live paint object out there. Then we have got some Transparency as well, even though I would say that's the least of our problems but we do have this Drop Shadow that's got some translucency associated with it and it's got a Blend mode in the form of Multiply and to make matters even more precarious, I have gone ahead and taken these grainier objects and I have blended between them.

So we are asking a lot of the entire raster image process, that's key to the printing. We are asking a lot of that technology and if any little thing goes wrong, then not only is it going to mess up our illustration but it could compound. So one little problem could snowball into all kinds of other bigger problems. So the best way to go, is to just go ahead and convert it in the pixels in Photoshop at a very high resolution, mind you, and that way, you know that what you see is what you are going to get. Now you may have some color shifting going on but you are not going to have anything drop out.

As long as it survives the rasterization process inside Photoshop, you know you are good to go. So that's what we are going to do. Now before I shift to Photoshop here, I want to show you one thing and I am going to go up to the File menu, and I am going to choose the Save As command, and I will just go ahead and call this file something like, Knot number 3alt, I am not really going to save it. I just want to show you the dialog box here. So I will click on the Save button. In order to rasterize an image inside Photoshop, you need to make sure that this check box is turned on, Create PDF Compatible File. That's got to be on.

It is on by default but don't go turning it off because then Photoshop won't be able to interpret the file and you won't be able to place the file into InDesign and you will have all kinds of problems with it. So I am going to Cancel out of there. I just want you to know what's going on inside that dialog box. All right, so there is a variety of different ways to rasterize the graphic. You can rasterize directly inside of Illustrator by going to the File menu and choosing the Export command and then you can export to one of the many pixel formats that are offered and we will be seeing that but we are just straight for when rasterization is concerned.

I prefer to do it inside Photoshop because then you can see it happen as you do it. So here is how. I am going to go up to this Go to Bridge icon in the Applications bar, and click on it and that will take me to the Bridge. If you are working along with me, make sure that the Bridge is directed to the contents of the 21_photoshop folder inside your Exercise Files folder. You should see that file some place in here. It's called Knot number 3.ai. Again, if you are working with me, make sure you open this file. There is a bunch of other files that look like Knots but this is the one we are working with for now. I am going to go ahead and right-click on it and then choose Open With and now choose Photoshop CS5, and that will go ahead and switch to CS5 and if you weren't running the program, it will take a moment to start up, and then you will see the Import PDF dialog box because after all, this is a PDF compatible Illustrator file, so Photoshop is working from the PDF information.

If you want to see this guy bigger than this tiny itsy-bitsy small thumbnail why then go ahead and switch the thumbnail size to Fit Page and then you will see a bit, all-be-it jagged version of the graphic. That's fairly non indicative but still. Make sure Anti-aliased is turned on, you want that. You have a bunch of different cropping options that are available to you. I don't really think much of these guys because where rasterizing an illustration is concerned to file from Illustrator, there is a lot of duplication going on but basically you have two big differences. You have got the Bounding Box which is just going to go ahead and try to rasterize all of the artwork that it can get to.

In our case, the artboard is too small to contain all the artwork. So we are cropping down into this border elements. If we want to expand things a little, we could go ahead and choose Bleed Box, and that's going to expand the image slightly outward into the bleed boundaries that I had setup. So I have an 18 point bleed surrounding the artboard. But it doesn't really help us that much but still we do get a little more information going on there. So in other words, the upshot here is that there is no way to expand Photoshop's ability to take in the entire graphic. None of these options are going to expand beyond the artboard or beyond the bleed size.

Bleed Box is as big as you can go. So you can experiment with the other ones if you want to but I am telling you, that's the best we are going to do for now and you might say well, what can we do then? Can we expand the Width and Height values? No, that's just going to give you more pixels, it's not going to expand out into the border elements. What we need to do is go back and change the file in Illustrator and we will do that but for now, I just want to walk you through the options that are available to you here. Constraint proportion should be turned on. I don't recommend you change the Width and Height values unless you have a specific purpose for doing so, instead, you can tweak the Resolution value and what I usually do, if this is going to be a piece of final output, I might take it as high as 600 pixels per inch, which is great, that's going to give you a ton of resolution and you want a ton of resolution for a vector file, the thing is when you print an image to a postscript base printer, the default behavior is to go ahead and down-sample the image to 300 pixels per inch.

There is ways around this but unless you specifically ask your printer to do it, then the image will be down-sampled. I might sometimes, use 600 if I just want to hope against hope that I am going to get really super smooth results, or I might enter 360 or I might just settle for 300. In any event, it's going to be hard to tell the difference, quite frankly, unless you get out a loop and take that loop to the page after it gets printed, and very few people beyond you, are going to do anything like that. There are not too many viewers of your artwork that are going to whip out their magnifying glasses. Then otherwise, you are not even going to able to tell the difference between this and the actual vector file.

Then you could switch the mode if you wanted to. I am going to go ahead and switch to RGB and I am just doing that because I want to quicken the process a little bit but if you are going to pre-press output, you would stick with CMYK and then there is no sense in suppressing the warnings because you are not going to get any. Just click OK and then wait it out. And it is going to take a moment for the rasterization process to occur and here is the final rasterize version of the file, at least according to the settings I have just established, and I am going to go ahead and zoom in there to 100% and you can see what great detail we get and notice how smooth the gradients are.

Everything is looking just awesome. Nothing is dropping out. This document looks to be absolutely perfect to me. The only problem, if I zoom back out there, is that I cut off the border elements and I would like to go ahead and get those back but I didn't have anything dropped out in terms of the gradients, or the dynamic effects, or the live paint object or any of that. It didn't cause Photoshop any problems whatsoever, whereas it could very well, cause problems for a postscript printer. So when a document starts getting complicated and it has a lot of dynamic effects, do yourself a big favor and rasterize that image at a high resolution here inside Photoshop.

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This video is part of

Image for Illustrator CS5 One-on-One: Advanced
Illustrator CS5 One-on-One: Advanced

153 video lessons · 28140 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 38m 35s
    1. Welcome
      1m 48s
    2. Linking AI and EPS files to Illustrator
      6m 48s
    3. Installing the dekeKeys keyboard shortcuts
      7m 43s
    4. Remapping Mac OS shortcuts
      6m 56s
    5. Installing the Best Workflow color settings
      4m 54s
    6. The color settings explained
      7m 4s
    7. Preserve Numbers vs. embedded profiles
      3m 22s
  2. 1h 40m
    1. Converting pixels to vectors
      1m 2s
    2. Tracing an imported image
      6m 17s
    3. Other ways to trace
      3m 17s
    4. Raster and vector previews
      7m 2s
    5. Threshold, Min Area, and Max Colors
      5m 27s
    6. Tracing options: The raster functions
      8m 2s
    7. Using the Ignore White option
      5m 3s
    8. Tracing options: The vector functions
      6m 40s
    9. Expanding traced artwork
      5m 6s
    10. Sketching and drawing for Illustrator
      6m 24s
    11. Editing scanned line art
      9m 23s
    12. Adding contrast and color
      10m 32s
    13. Live Trace and resolution
      9m 8s
    14. Expanding and separating paths
      8m 43s
    15. Scaling and editing traced art
      8m 4s
  3. 1h 8m
    1. Gradients are good
      1m 15s
    2. Assigning a gradient fill
      6m 9s
    3. Using the gradient annotator
      7m 31s
    4. Editing multiple gradients
      4m 37s
    5. Establishing symmetrical gradients
      5m 28s
    6. Creating a radial gradient
      5m 46s
    7. Adjusting the midpoint skew
      3m 23s
    8. Mixing gradients with blend modes
      6m 11s
    9. Making a transparent gradient
      6m 42s
    10. Drop shadows and dynamic effects
      5m 58s
    11. Assigning a gradient to editable text
      5m 42s
    12. Editing text that includes dynamic effects
      2m 56s
    13. Assigning a gradient to a stroke
      6m 46s
  4. 1h 37m
    1. The earliest dynamic functions
      1m 10s
    2. The gradient-intensive illustration
      5m 26s
    3. Creating a multi-color blend
      7m 39s
    4. Establishing a clipping mask
      3m 34s
    5. Reinstating the mask colors
      9m 7s
    6. Editing blended paths
      6m 50s
    7. Adjusting the number of blended steps
      6m 49s
    8. Using the Blend tool
      4m 33s
    9. Blending between levels of opacity
      7m 32s
    10. Editing the path of the blend
      6m 22s
    11. Adding a custom path of the blend
      5m 4s
    12. Placing one mask inside another
      8m 33s
    13. Blending groups and adjusting the speed
      6m 1s
    14. Rotating objects in 3D space
      10m 21s
    15. Creating custom perspective guides
      8m 31s
  5. 1h 37m
    1. What was old is new again
      39s
    2. Introducing tile patterns
      6m 11s
    3. Determining the points of intersection
      6m 51s
    4. Extending paths from the intersections
      5m 40s
    5. Crafting symmetrical subpaths
      5m 38s
    6. The final flawed subpaths
      5m 52s
    7. Reconciling misaligned paths
      5m 34s
    8. Completing the core path outline
      6m 14s
    9. Making a symmetrical modification
      6m 47s
    10. Adjusting the interior elements
      8m 26s
    11. Coloring paths and testing the interlock
      9m 29s
    12. Establishing a rectangular tile
      6m 22s
    13. Defining a tile pattern
      3m 43s
    14. Creating a few color variations
      8m 50s
    15. Protecting patterns from transformations
      6m 9s
    16. Transforming patterns without paths
      5m 30s
  6. 1h 12m
    1. Filling and stroking virtual areas
      44s
    2. Introducing Live Paint
      7m 57s
    3. Stroking with the Live Paint Bucket tool
      5m 30s
    4. Using the Live Paint Selection tool
      7m 18s
    5. Adding a path to a Live Paint group
      4m 33s
    6. Building a classic Celtic knot
      8m 28s
    7. Constructing the base objects
      5m 31s
    8. Weaving one object into another
      6m 13s
    9. Creating a path that overlaps itself
      7m 15s
    10. Painting a path that overlaps itself
      5m 34s
    11. Creating knots inside knots
      5m 2s
    12. Adding gradients and depth
      8m 22s
  7. 1h 4m
    1. Dynamic effects and OpenType
      1m 12s
    2. Applying a dynamic effect to type
      5m 43s
    3. Creating a basic bevel effect
      4m 12s
    4. Building up a multi-stroke effect
      4m 49s
    5. Best practices for 3D type
      6m 34s
    6. Applying a "path wiggler" to type
      6m 14s
    7. Drop shadows and Raster Effects settings
      4m 52s
    8. Duplicating attributes and effects
      7m 8s
    9. Editing type with dynamic effects
      7m 27s
    10. Ligatures, swashes, ordinals, and fractions
      5m 45s
    11. Small caps and the Glyphs panel
      4m 25s
    12. Warping text and increasing resolution
      6m 9s
  8. 1h 44m
    1. A world of colors at your beck and call
      1m 32s
    2. Customizing a letterform to make a logo
      8m 37s
    3. Creating a custom drop shadow effect
      6m 26s
    4. Introducing the Color Guide panel
      9m 3s
    5. Harmonies and Color Guide settings
      5m 39s
    6. Lifting harmony rules from color groups
      7m 21s
    7. Harmony layouts and the Lab color wheel
      8m 15s
    8. Working inside the Edit Color dialog box
      6m 36s
    9. Limiting a color group to spot colors
      5m 47s
    10. Recoloring selected artwork
      5m 50s
    11. Recoloring with custom color groups
      6m 1s
    12. Swapping colors with the Color Bars feature
      5m 18s
    13. Using the options in the Assign panel
      8m 41s
    14. Moving color groups between documents
      7m 17s
    15. Distilling your artwork to one spot-color ink
      7m 45s
    16. Recoloring artwork that contains gradients
      4m 17s
  9. 1h 21m
    1. How symbols work
      1m 2s
    2. The power of symbols
      5m 1s
    3. Creating new symbols
      6m 0s
    4. Enabling the new 9-slice scaling
      4m 24s
    5. Adjusting your 9-slice scaling guides
      6m 54s
    6. Previewing and acquiring symbols
      4m 12s
    7. Finding a symbol and creating an instance
      4m 13s
    8. Duplicating and replacing instances
      4m 19s
    9. Breaking a symbol link and envelope fidelity
      5m 26s
    10. Distorting and expanding a symbol
      4m 54s
    11. Updating an existing symbol definition
      3m 40s
    12. Recoloring a symbol definition
      4m 13s
    13. Applying a basic "local" color adjustment
      5m 20s
    14. Applying a more elaborate local color adjustment
      5m 4s
    15. Laying down a random symbol set
      5m 35s
    16. The eight symbolism tools
      6m 55s
    17. Editing selected instances
      4m 11s
  10. 1h 32m
    1. Illustrator needs Photoshop
      1m 1s
    2. Two ways to place a pixel-based image
      6m 6s
    3. Working with linked images
      6m 6s
    4. Linking versus embedding
      9m 38s
    5. Stroking and blending an image
      6m 16s
    6. Adding a clipping mask and page curl
      6m 51s
    7. Creating a blended border effect
      7m 10s
    8. Rasterizing your artwork in Photoshop
      8m 0s
    9. Saving a flat raster file from Photoshop
      4m 58s
    10. Restoring cropped border elements
      5m 39s
    11. Copying and pasting into Photoshop
      6m 27s
    12. Working with Photoshop Smart Objects
      5m 26s
    13. Adding a pixel-based layer effect
      4m 12s
    14. Editing a Vector Smart Object in Illustrator
      7m 20s
    15. Creating and placing a transparent image
      7m 1s
  11. 1h 15m
    1. The many forms of transparency
      1m 29s
    2. Real-world blending modes
      7m 57s
    3. Exporting transparency from Illustrator
      6m 24s
    4. Opacity and blending modes
      6m 18s
    5. The Darken and Lighten modes
      7m 17s
    6. The Contrast, Inversion, and HSL modes
      6m 12s
    7. Blending modes in action
      5m 11s
    8. Creating a knockout group
      6m 14s
    9. Confirming the viability of your artwork
      6m 8s
    10. Introducing the opacity mask
      4m 6s
    11. Making an opacity mask
      5m 25s
    12. Drawing inside an opacity mask
      3m 34s
    13. Creating a gradient opacity mask
      5m 29s
    14. Adding an opacity mask to a single object
      3m 22s
  12. 1m 13s
    1. Until next time
      1m 13s

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