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Adobe Illustrator has long been a popular vector–based drawing program, but for many the learning curve is steep. In Illustrator CS4 One-on-One: Fundamentals, author and leading industry expert Deke McClelland shows users how to get in to the Illustrator mindset and overcome this learning curve. He covers the application's key features in a new way, making it simple and easy to master Illustrator. Deke teaches viewers how to use the core drawing and shape tools, the transformation and reshaping features, text, and the Pen tool. He also explains how to export and print. Even if learning Illustrator has been a struggle in the past, this training can help make sense of it. Exercise files accompany the course.
In this final exercise of the entire series, Illustrator CS4 One-on-One Fundamentals, I'm going to show you how to exchange portions of an illustration, just pieces here and there with the big three other Adobe applications which are InDesign, Flash and Photoshop via the clipboard. Now that may seem like a letdown, really. For the last exercise in the series, we are going to look at Copy and Paste? That's so old school. But in fact, not so much. Actually really great in fact, really great function coming at you.
I am working inside this document called Final file.ai found inside the 12_exporting folder, so-called because it is our final file and I did take care of a little problem. I went ahead and changed the Qs to Ks here on the t-shirt because that had to happen. I had to make sure that got taken care of. But I want to switch to the first artboard here inside of this illustration, this guy, and I'm going to zoom in on the green Shenbop, this little character right there, and I'm going to go ahead and select it with the Black Arrow tool just by marqueeing around the entire thing.
Now before I copy it to the clipboard, I need to make sure that I'm going to be copying it correctly. So what I want you to do is go to the Edit menu, here on the PC. You would go to the Illustrator menu on the Mac, then choose the Preferences command and then choose File Handling & Clipboard and here is where you set your Clipboard specifications and notice that we are going ahead and copying the Clipboard, both as a PDF and as an AICB, an Adobe Illustrator Clipboard File essentially. So PDF ensures that we have all of our transparency and our live effects and all that wonderfulness that is in Illustrator graphic. AICB makes sure that we save the path outline. So notice there is no transparency support associated with AICB. We do however want to Preserve Appearance and Overprints to the best of our abilities. So it will go ahead and try to render those out as independent paths, instead of preserving the paths by themselves.
That's a good way to work. So just make sure those are the default settings, but make sure that they are intact and then say OK if you had to change something. I'm just going to cancel out. And that way, you leave it to the Adobe applications to determine which pieces they want here and there. Now if I go to the Edit menu and choose the Copy command or press Ctrl+C, Command+C on the Mac, I copy this selection to the clipboard. Of course you already know that. Now let's say I go to InDesign and I'm just going to tell you how it works in InDesign and Flash and then I'm going to show you how it works inside Photoshop. If we were to go to InDesign and paste this graphic, it would be editable. We could actually edit the paths inside of InDesign. That's a great thing because if you just place any Illustrator graphic into InDesign, it's not editable, it's just a vector-base graphic and you can look at it, but you can't get in there and monkey with the outline.
If you want editability, then you go ahead and copy from Illustrator and then paste into InDesign, then inside of InDesign you would ungroup this element if you really wanted to get in there and start changing things. The thing to note, however, is that you are not going to have transparency. So any areas that are transparent inside the graphic are going to be expressed as lower tint values so that they are lighter in color but they are not transparent. You would then turn around and grab those areas of the graphic and make them transparent manually inside of InDesign. It's kind of a pain in the neck, but it's the way it works.
Now Flash on the other hand, we are able to convey a whole lot of information. Let's say for example, I decide to make this guy a symbol and we haven't seen the Symbols palette. I devote an entire chapter to Symbols in a later portion of this series. But I'm going to bring up this Symbols palette by clicking on this little cloverleaf. That will bring up Symbols. As you can see, you can also choose Symbols from the Window menu if you like. So it's right down there. Ctrl+Shift+ F11, Command+Shift+F11 on the Mac. Isn't that wonderful? All right, I'll go ahead and drag it and drop it into the Symbols palette and then I'm invited to go ahead and name this symbol and I'll call it Shenbop as we can see here.
I do want it to be a movie clip, I would like the Flash Registration to be right there in the center in case I decide to make him do some somersaults or something along those lines. I don't need Guides for 9-slice scaling. That's not something we are going to be doing with this little frog. If you know what those are, you do, if you don't, it's a flash thing. I'm going to click OK in order to accept that new symbol right there. Now what's great about this, if I were to copy it now, if I were to go to the Edit menu, then I were to copy what is essentially an instance of this symbol. So Ctrl+C, Command+C on the Mac, once again you can see it's an Instance, right there. We could even name the Instance if we wanted to. I could call this something like Green frog. That's the Instance. That's the name of this specific Instance.
Then I would go back and copy of course because I have updated that Instance. So I'll choose the command or press Ctrl +C, Command+C once again. Now if I were to go over to Flash and paste this, it would know everything I have shown you. It would know the name of the Instance; it would know the name of the Symbol. It would actually make it a Symbol. It would know the name of the Instance, it would know the name of this Symbol, it would know the name of the layer that this Instance had come from. So it would know it came from the Card layer. It would know the Flash Registration, it would know that was a movie clip, it would know all that stuff. So Illustrator and Flash are just simpatico with each other, it's wonderful.
All right, now let's check out the closest pair of them all, Illustrator and Photoshop. I'll go ahead and break the link between this Instance and the Symbol. So I have access to the original frog here by clicking on this busted chain icon and now we have the original path outlines available to us once again. All right, I'm going to go ahead and copy them to the clipboard as we have seen so many times, Ctrl+C, Command+C on the Mac. Now let's go over to Photoshop where I have created an empty document, just ready and waiting for Shenbop, and I'll go to the Edit menu and I'll choose the Paste command, Ctrl+V, Command+V on the Mac and then it will ask me how I want to paste this illustration.
I am going to start by just pasting it as Pixels, so that we can see what that looks like, I'll click OK and it comes in very tiny as you can see there. I'm going to press the Shift and Alt keys. This would be Shift and Option on the Mac and I'm going to drag one of these corner handles and that way I'm scaling out because I'm holding the keys. I'm scaling out from the center because I have the Alt or Option key down and I'm constraining the proportions because I have the Shift key down. Then when I get Shenbop nice and big -- or actually let's start with something smaller so I can show you how this works. We will go to a moderate size like this.
I will go ahead and press the Enter key or the Return key on the Mac and we get a super smooth frog, awesome and he is on an independent layer and everything. That's fantastic. But now let's say -- oh, wait a second, I want him to be bigger. I'll go up to the Edit menu and I'll choose the Free Transform command or I'll press Ctrl+T, Command+T on the Mac and then I'll once again press the Shift and Alt keys, the Shift and Option keys on the Mac and I'll drag this corner handle and he is looking like he is going to be pretty big and chunky. And sure enough, if I press the Enter key or the Return key on the Mac, he looks dreadful. So let's go and undo that or let's just throw it away. Let's just get rid of that layer right there. And let's replace that frog by pressing Ctrl+V or Command+V again and taking a look at our options.
Now notice that we can also go ahead and paste Shenbop as a Path if we want to and this could be a path outline. If I click OK, these are going to be editable path outlines that show up here inside the Paths palette. So I could name this guy Shenbop, my new path entry and then I could use the Black Arrow tool. In order to select that entire graphic, I just marquee around it and I would press Ctrl+T or Command+T on the Mac to once again invoke the Free Transform mode. I would press the Shift and Alt keys, the Shift and Option keys on the Mac in order to scale that frog bigger like so. Press the Enter key, the Return key on the Mac and because I have editable path outlines, I have super smooth results.
Now some of my paths may not make that much sense in the context of Photoshop, where paths have different meanings. But still, they are all here and I could use them for whatever purpose I like. I can even see a nice big preview right there in the Paths palette as well, nice. All right, I'm going to turn off Shenbop, the Paths, leave them there because goodness knows I might want to come back to him. I will go back to the Layers palette here, press Ctrl+V, Command+V on the Mac and once again paste this information that's still hanging out there in the Clipboard. I could paste it as a shape layer. Now the thing about the shape layer is it's not really going to render Shenbop properly because a shape layer has to be all one fill and then you have to assign strokes independently using a layer effect. But they are not going to come in originally and in order to really do the job right, you would have to move all those paths to different shape layers. It's just not going to work.
Shape layers are great for single shapes. They are not very good for something as complicated as Shenbop and he is not all that complicated. He is just a handful of paths, but it's still too much for a shape layer. You can try that out if you want to but it's going to be a mess. What we are going try on instead is a Smart Object, which is the way to go and I'm going to click OK, comes in as a little guy. Once again, Shift+Alt+Drag your corner handles, Shift+Option+Drag on the Mac, make it about as big as it was for Pixels. Press the Enter key, the Return on the Mac in order to resolve that guy out, looks great. Hey! He is too small. Go to the Edit menu, choose the Free Transform command or press Ctrl+T, Command+T on the Mac.
And then notice, it's telling me, hey! You have already scaled it to 772.5% of its original size and it still looks great and you know what? That's not enough. I'm going to make it even bigger like so to 2362.2% in my case. Your results may vary and then I'll press the Enter key or the Return key on the Mac in order to scale them and look we are still working from the original vector data. Now you may recall, from a few exercises back, when you are working with an Illustrator Smart Object here inside Photoshop, you have the illustration embedded in the Photoshop document. So if you want to change it, let's say I want to change the color of Shenbop to something different here, I'll double-click on this thumbnail, I'll get that warning that's telling me what to do.
It's not really warning, it's more of a handful of instructions there. I click OK in order to ignore that. I open up a separate document called Vector Smart Object.ai. Fine. It's this itty- bitty frog right there. Let's go ahead and zoom in on him and of course he resolves nicely inside of Illustrator because he has a handful of objects. Now let's say I want to change his color. I could select the various objects and change them independently or I can notice here in the Swatches palette that I have a global swatch that's called Royal green and I could change it to anything I want by double-clicking on it. In order to bring up the Swatch Options dialog box and I could change him to something like Royal purple, let's say.
Let's go ahead and take up the Magenta value to 100% and take the Yellow value down to 0% and then leave the K value at 30. That's fine and we will just call this Royal purple and then click OK in order to accept that change. He is changed. Now what do I do? I close the file. I'm asked if I want to save it. I say Yes. Am I saving it to disk? No, I'm not saving it to disk. I'm saving it back to Photoshop. Click Yes. What's going to happen is this file is going to go away and we are going to be returned here to the Final file.ai and you are going to be kind of puzzled, mystified by that probably. Usually I'm because I forget, I have changed applications and stuff. Then press Alt+Tab or Command+Tab on the Mac to switch back to Photoshop here. Boing! Just like that, it changes to a purple frog.
Now if you really want to save your purple frog, if you want to save the results of what you have done here and you probably do. I'm going to get rid of that empty Layer 1; it's not doing us any good. I'm going to rename this layer something like Shenbop. I already know it's a Smart Object and I can see it's a Smart Object because I have this little Smart Object icon down here on the bottom right corner of the thumbnail. Now if you want to save this Photoshop file, note that despite the fact that we just clicked the Save button a moment ago, the file isn't actually saved. You would go up to the File menu and choose the Save As command and then I'll go ahead and save this out to the 12_ exporting folder so that you have access to it if you want to. Purple Shenbop for your opening pleasure. There we go and click the Save button in order to save off that layered file.
You can say that you want Maximize compatibility. I go into that in my Photoshop series, why I tend to turn that off, but in this case I'll just leave it on and I'll click OK in order to save off the layered PSD file. So now you have a sense of the many ways that you can exchange spot illustrations, just portions of an illustration, with the big three Adobe applications, InDesign, Flash and Photoshop. Enjoy!
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