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Saving a flat raster file from Photoshop

From: Illustrator CS5 One-on-One: Advanced

Video: Saving a flat raster file from Photoshop

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.

Saving a flat raster file from Photoshop

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.

Show transcript

This video is part of

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

153 video lessons · 28124 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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