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In Illustrator CS5 One-on-One: Advanced, author and industry expert Deke McClelland teaches how to take advantage of the wide array of dynamic features in Illustrator CS5. This course demonstrates how to apply these features to paths, groups, and editable text to create professional-quality artwork. The course covers Live Trace, Live Paint, and Live Color, as well as symbols, gradients, exporting, and integration with Photoshop. Exercise files accompany the course.
Now that we have rasterized the illustration inside Photoshop, how do we save it to achieve the best results? Well that's a question I am going to answer inside this exercise which is why I have not saved the progress file for you at this point. We are going to be actually saving this file together. So here I am working inside Photoshop and that's the way it always works when you rasterize a PDF file, or a PDF compatible Illustrator file. You are going to get a single layer. It will be called layer 1. If there were any transparent portions of that artwork, then you are going to see transparency inside this layer.
You will see through to a checkerboard pattern. In our case, the entire illustration, every bit of the artboard was covered with opaque objects and as a result, we have an entirely opaque layer. So we might as well go ahead and flatten our artwork. Now I will show you an exception to that why you would go ahead and save off layers when you have rasterized an illustration in Photoshop in the future exercise but for now, we are going to go ahead and flatten this layer by going up to the layer menu and choosing the Flatten image command. Now if you have worked through any of my Photoshop One-on-One courses, you may have loaded by Dekekeys for Photoshop in which case you have a keyboard shortcut Ctrl+Shift+Alt+F if you are on a PC, or Command+Shift+Option+F on the Mac and that will go ahead and convert that layer into the background.
Now the background is not technically a layer inside of Photoshop; what it is, is a flat rectangular image. Now we are going to go ahead and save that image by going up to the File menu and choosing either the Save command, because it hasn't been saved before but I suggest when you are saving a new image from Photoshop or a new document that you get in a habit of choosing the Save As command, and I would like you to save this file, if you are working along with me to the 21_photoshop folder. I am going to go ahead and call the file Cropped artwork because so far it is cropped, we don't have those border elements, and then you need to choose a file format.
Here are your options. For one, you could choose JPEG, that will deliver the smallest file size because you will be able to apply some lossy compression. However, as I was telling you, couple of problems here. A lot of commercial print houses frown on JPEG files. They would rather use either the PSD or TIFF file format and also, for very good reason, in this case, because JPEG is going to introduce compression artifacts that could end up, messing up the details and right now we have just splendid noiseless detail. Thanks to our rasterization of this pristine illustration here inside Photoshop.
So we don't want to gum-up the works by introducing a bunch of JPEG artifacts at this point. So don't use JPEG. The true format you might want to choose are either the native PSD format, or TIFF. They both are going to retain all of the integrity of the image. They are going to produce outstanding results. The one advantage of TIFF is that it's a slightly more compatible file format and it's going to deliver a smaller file size. So that's why I would recommend it. Go ahead and choose TIFF and then make sure the ICC Profile check box is turned on and go ahead and click on that Save button.
Then you will see the TIFF Options dialog box and you will have three groups of settings to choose from. Leave Pixel Order, I am dropping down here. I am going to discuss these in backward order of importance. Make sure that Pixel Order is set to Interleaved. So don't change that setting. Byte Order doesn't matter. Notice it's coming up as Macintosh and I am working on a PC, what you are really going to see though if this is the first time you have ever seen this dialog box, you are going to see Mac on the Mac side, and PC on the PC side, it does not matter which one you choose. You can save a Macintosh a file from the PC or PC file from the Mac, virtually every application out there that supports TIFF, supports both varieties regardless of platform.
This option up here however, matters. Image Compression. By default, it's set to None. That's not what you want to select because you are going to get big huge files from TIFF, if you don't apply any compression. What you want is LZW compression. Now you might think compression that sounds bad, that's going to rewrite the pixels inside of the image. Not true in the case of LZW. LZW is a loss-less compression scheme and it's really great. It's well designed for saving out illustrations in particular because where illustrations are concerned, you have areas of solid color like all of our strokes, for example, are set to that rich black and instead of saving each pixel independently, what Photoshop will do is say that these regions are black inside the image, again it's loss-less and it results in a smaller file size.
So every pixel of information will be retained and yet you will have a smaller file on disk. Go ahead and click OK at this point in order to save off that file and that frames as you save a flat, rasterized, illustration from Photoshop. I am going to end things by zooming in so you can see that every single pixel is going to remain absolutely intact inside this TIFF file; what you see is what you get. Again, you may see a little bit of color conversion going on. If you were to print this RBG image to a CMYK output device, there will be some color modifications that occur.
However, otherwise, every, single, tiny bit of detail will be retained. Thanks to the fact that you rasterized this illustration inside Photoshop.
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