Easy-to-follow video tutorials help you learn software, creative, and business skills.Become a member

Two ways to place a pixel-based image

From: Illustrator CS5 One-on-One: Advanced

Video: Two ways to place a pixel-based image

In this exercise I am going to show you a couple of different ways to take a pixel-based image, whether it's a digital photograph or a scanned piece of artwork or something that you've created or crafted or otherwise modified inside Photoshop, and then place it into Illustrator as a linked graphic. I am working inside this file called Story template.ai, and method number one is to go up to the File menu and choose the Place Command or if you loaded dekeKeys, you can press Ctrl+Alt+ D or Command+Option+D on the Mac. And then go ahead and navigate your way to the 21_ photoshop folder and there you'll find among other files, this one called Spanishtown dinosaurs.tif.

Two ways to place a pixel-based image

In this exercise I am going to show you a couple of different ways to take a pixel-based image, whether it's a digital photograph or a scanned piece of artwork or something that you've created or crafted or otherwise modified inside Photoshop, and then place it into Illustrator as a linked graphic. I am working inside this file called Story template.ai, and method number one is to go up to the File menu and choose the Place Command or if you loaded dekeKeys, you can press Ctrl+Alt+ D or Command+Option+D on the Mac. And then go ahead and navigate your way to the 21_ photoshop folder and there you'll find among other files, this one called Spanishtown dinosaurs.tif.

Now there are essentially three different file formats that you will use when conveying images from Photoshop or a camera or scanner over to Illustrator. There is the JPEG format, which is good for flat files that are files that have no layers. And what I typically do, if I am going to use JPEG because it introduces lossy compression, is I will go ahead and save it at the highest quality possible, which is a quality setting of 12 inside of Photoshop, and then place it into Illustrator, if I am going to go to that route. Now a lot of commercial printers frown on the use of JPEG, because on very rare occasions it can cause problems with older model PostScript RIPs.

Generally and likely, that that's going to happen, but what most prepress professionals would prefer you use for your flat images is the tiff file format, that's the industry standard where printing images is concerned. And tiff saved with LZW compression, which is a lossless compression scheme, so that it doesn't modify the pixels inside the image, still delivers pretty small images, it gives you a big file savings where continuous tone images are concerned. And then finally if you have layers inside of your file or for example, if you want transparency associated with a Photoshop image that you are then going to import into Illustrator, you want to save the image in Photoshop's native PSD file format and I will show you have that works in the future exercise.

But for now, go ahead and select Spanishtown dinosaurs there inside the 21_ photoshop folder. Drop down to these check boxes here and make sure Link is turned on, that's very important, we'll come back to how linking works versus embedding the image. And then make sure Template is turned off, you only want the Template check box turned on if you're going to create a non-printing tracing template. So Link on, Template off, Replace should be dimmed, because nothing should be selected inside this illustration, and then click of the Place button, and that goes ahead and places the image into the artwork.

All right, so that's one way to work. We are going to go head and delete that guy by pressing the Backspace Key or the Delete key on the Mac so that we can replace the image. And I am going to do that by either going up to the File menu and choosing Browse in Bridge or you can press Ctrl +Alt+O, Command+Option+O on the Mac. And you may recall from the fundamentals portion of this series, the Bridge is the gatekeeper where the various Creative Suite 5 Applications are concerned. So that's where you can preview your files and organize them and so on, or click on the go to Bridge icon in the Applications bar to switch over to the Bridge, and navigate your way as usual to the 21_photoshop folder here inside the Exercise Files folder.

Now among other files as I say, you'll see more files than this, because I haven't populated my entire folder yet, but you'll see this one called Spanishtown dinosaurs.tif. You may or may not see all this metadata underneath it, don't worry about that. What I am going to do is go up here to the upper right corner of the window and notice that there is this icon that says Switch to Compact mode. Go ahead and click on it, or press the keyboard shortcut Ctrl+Enter or Command+Return on the Mac and that's going to switch you to the compact view of the bridge. And the great thing about the compact view is it hovers in front of the other applications, and you can do this number right here.

You can grab Spanishtown dinosaurs.tif, and you can drag it and drop it into Illustrator like so, in order to place that graphic. So that's another to work. Now the interesting thing about the compact view is if you now click inside of Illustrator, it still remains on top. The compact view remains in front as you work along in Illustrator, even though Illustrator is now active. Now if you don't want to work that way, you can switch back to the Bridge by clicking on it and then go to this little flyout menu once again in the upper right-hand corner of the window, and click on it, and notice that we got this command that says, Compact Window Always On Top.

If you turn that command off and then you go ahead and click inside of Illustrator, then this window will go to the background. Or another thing you can do is just go ahead and switch out of the compact view by clicking on the Switch to Full mode icon or you can press Ctrl+Enter or Command+Return on the Mac again, and then you go up to this little boomerang icon to return to Illustrator, and you'll be back in Illustrator and nothing will be on top, so a couple of different ways to work there. And then finally what I am going to do is I want to take this image which measures 12 inches wide by 9 inches tall.

I just happened to know that because that's way I set it up inside a Photoshop. My artboard, not surprisingly is 12 inches wide by 9 inches tall, so I want to exactly align the image to the artboard and I can do that with the image selected. And by the way, to select an image when you're working, I will go ahead and press Ctrl+K or Command+K on the Mac just as a reminder here. To bring up the Preferences dialog box, I will switch to Selection & Anchor Display. If you have Object Selection by Path Only turned on, as I've recommended many times you do throughout this series, go ahead and cancel out.

Then the way to select an image is to click on its parameter. And I just clicked on the wrong thing there, so I need to move my cursor up a little bit and click exactly on the edge of that image to select it. Anyway, having selected the image, then I would go up here to the Control panel and I would make sure this alignment icon is set to Align to Artboard. So if it's set to Align to Selection, it's going to look this, you need to click on it and choose Align to Artboard. Then you are going to see some alignment icons over here, click on Horizontal Align Center and then click on Vertical Align Center, and you'll exactly position that image into place.

And there you have two different ways to place a photographic pixel-based image into Illustrator.

Show transcript

This video is part of

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

153 video lessons · 28277 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

Start learning today

Get unlimited access to all courses for just $25/month.

Become a member
Sometimes @lynda teaches me how to use a program and sometimes Lynda.com changes my life forever. @JosefShutter
@lynda lynda.com is an absolute life saver when it comes to learning todays software. Definitely recommend it! #higherlearning @Michael_Caraway
@lynda The best thing online! Your database of courses is great! To the mark and very helpful. Thanks! @ru22more
Got to create something yesterday I never thought I could do. #thanks @lynda @Ngventurella
I really do love @lynda as a learning platform. Never stop learning and developing, it’s probably our greatest gift as a species! @soundslikedavid
@lynda just subscribed to lynda.com all I can say its brilliant join now trust me @ButchSamurai
@lynda is an awesome resource. The membership is priceless if you take advantage of it. @diabetic_techie
One of the best decision I made this year. Buy a 1yr subscription to @lynda @cybercaptive
guys lynda.com (@lynda) is the best. So far I’ve learned Java, principles of OO programming, and now learning about MS project @lucasmitchell
Signed back up to @lynda dot com. I’ve missed it!! Proper geeking out right now! #timetolearn #geek @JayGodbold
Share a link to this course

What are exercise files?

Exercise files are the same files the author uses in the course. Save time by downloading the author's files instead of setting up your own files, and learn by following along with the instructor.

Can I take this course without the exercise files?

Yes! If you decide you would like the exercise files later, you can upgrade to a premium account any time.

Become a member Download sample files See plans and pricing

Please wait... please wait ...
Upgrade to get access to exercise files.

Exercise files video

How to use exercise files.

Learn by watching, listening, and doing, Exercise files are the same files the author uses in the course, so you can download them and follow along Premium memberships include access to all exercise files in the library.


Exercise files

Exercise files video

How to use exercise files.

For additional information on downloading and using exercise files, watch our instructional video or read the instructions in the FAQ .

This course includes free exercise files, so you can practice while you watch the course. To access all the exercise files in our library, become a Premium Member.

Are you sure you want to mark all the videos in this course as unwatched?

This will not affect your course history, your reports, or your certificates of completion for this course.


Mark all as unwatched Cancel

Congratulations

You have completed Illustrator CS5 One-on-One: Advanced.

Return to your organization's learning portal to continue training, or close this page.


OK
Become a member to add this course to a playlist

Join today and get unlimited access to the entire library of video courses—and create as many playlists as you like.

Get started

Already a member ?

Become a member to like this course.

Join today and get unlimited access to the entire library of video courses.

Get started

Already a member?

Exercise files

Learn by watching, listening, and doing! Exercise files are the same files the author uses in the course, so you can download them and follow along. Exercise files are available with all Premium memberships. Learn more

Get started

Already a Premium member?

Exercise files video

How to use exercise files.

Ask a question

Thanks for contacting us.
You’ll hear from our Customer Service team within 24 hours.

Please enter the text shown below:

The classic layout automatically defaults to the latest Flash Player.

To choose a different player, hold the cursor over your name at the top right of any lynda.com page and choose Site preferences from the dropdown menu.

Continue to classic layout Stay on new layout
Exercise files

Access exercise files from a button right under the course name.

Mark videos as unwatched

Remove icons showing you already watched videos if you want to start over.

Control your viewing experience

Make the video wide, narrow, full-screen, or pop the player out of the page into its own window.

Interactive transcripts

Click on text in the transcript to jump to that spot in the video. As the video plays, the relevant spot in the transcript will be highlighted.

Are you sure you want to delete this note?

No

Your file was successfully uploaded.

Thanks for signing up.

We’ll send you a confirmation email shortly.


Sign up and receive emails about lynda.com and our online training library:

Here’s our privacy policy with more details about how we handle your information.

Keep up with news, tips, and latest courses with emails from lynda.com.

Sign up and receive emails about lynda.com and our online training library:

Here’s our privacy policy with more details about how we handle your information.

   
submit Lightbox submit clicked
Terms and conditions of use

We've updated our terms and conditions (now called terms of service).Go
Review and accept our updated terms of service.