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Illustrator CS5 One-on-One: Advanced
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Working with linked images


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Illustrator CS5 One-on-One: Advanced

with Deke McClelland

Video: Working with linked images

In this exercise, I am going to walk you through the various linking options that are available to you. So when you place an image into Illustrator, it's a linked file. The image that you see here in Illustrator is actually linked to a file on disk in other words, and that allows Illustrator to handle the file very efficiently by the way. So Illustrator is not that great at handling pixels when they're embedded into the illustration, and we will talk more about that in the next exercise, but if you've linked the file, then it handles the file very efficiently. So I have saved my changes as Image in front.ai.
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  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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Illustrator CS5 One-on-One: Advanced
14h 53m Intermediate Nov 30, 2010

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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.

Topics include:
  • Tracing a pixel-based image
  • Sketching and drawing for Illustrator
  • Creating and editing gradients
  • Creating multi-colored blends
  • Creating seamlessly repeating tile patterns
  • Creating interlocking artwork with Live Paint
  • Designing advanced type effects
  • Recoloring artwork with color harmonies
  • Making the most of symbols
  • Integrating Illustrator with Photoshop
  • Using transparency, blend modes, and opacity masks
Subject:
Design
Software:
Illustrator
Author:
Deke McClelland

Working with linked images

In this exercise, I am going to walk you through the various linking options that are available to you. So when you place an image into Illustrator, it's a linked file. The image that you see here in Illustrator is actually linked to a file on disk in other words, and that allows Illustrator to handle the file very efficiently by the way. So Illustrator is not that great at handling pixels when they're embedded into the illustration, and we will talk more about that in the next exercise, but if you've linked the file, then it handles the file very efficiently. So I have saved my changes as Image in front.ai.

I am going to click on the outline of this big image right here in order to select the entire thing. Notice that it has an X through it that just indicates that it's a placed image. If I press Ctrl+Y or Command+Y on the Mac, all of those pixels are going to disappear when I switch to the outline mode here and I'm just going to see a rectangle with a big X that indicates that I'm looking at a linked graphic that also allows me to easily select through to the other objects that are in the background. If I press Ctrl+Y or Command+Y again, I'll switch back to the preview mode so that I can see those pixels.

Now notice up here in the Control panel that you have got this item called Linked File, that's going to bring up the Links panels, I will show you that in a moment, but there are other ways to get the Links panel if you like. One is, if you have this little chain icon showing up in your panel strip, then you can click on it. You may not have set up your panel strip that way, however. Another way to get to that panel is to go to the Window menu and choose Links and that's going to bring up that Links panel right there. Anyway, I am going to go and hide that one, because probably the easiest way to get to this panel is to select the placed image, then click on Linked file, and there is your Links panel right there.

And it will show all of the linked images inside of this illustration. Now notice down here that we have this series of four icons. The first icon allows you to relink an image. So in other words, you can replace this image with a different one that's found on disk. And what you would do, as you click on relink, it would bring up the Place dialog box, you would select a different image and then click the Place button, and then you would replace this image with a different one. Next, we have got Go To Link, and this is really useful if you have a lot of links listed here inside the Links panel.

You click on a link, and then you click on Go To Link and you'll be taken to the artboard that contains that image, and you'll be zoomed in as well, so you can see the image large on-screen. Next we have got Update Link, so if some changes have been made to the image inside of another program, let's say Photoshop, and they are not showing up here inside Illustrator, you would go ahead and click the Update Link button in order to update that image information. And then finally, we've got Edit Original, and if I click on Edit Original, that's actually going to take me into Photoshop, so it's going to open the image inside Photoshop as we are seeing here.

Then I would make whatever modifications I want to in Photoshop. I would go to the File menu, choose the Save command in order to update the image, and then I'd return to Illustrator. And then when I return to Illustrator, I will see my modifications here inside the document window. All right, another thing I can see here in the Control panel is a resolution, and notice that this image is set to 279 and a 1/3 pixels per inch, PPI stands for pixels per inch. And that may seem pretty darned on standard; you may have heard that the best resolution setting, if you are going to place an image in the Illustrator is 300 pixels per inch, which is great for 150 LPI; that is line per inch half toning, which is one of the industry standards for commercial printing.

Another recommended resolution is 267 pixels per inch, which is designed especially for 133 LPI halftone screens. But that kind of information is overemphasized, you really don't need to stick with specific resolution values. These kinds of nonstandard resolutions are just fine; it's all about how big you want the image to be when you print it, that's ultimately the thing you're concerned about. So anything above 220 PPI is going to deliver pretty good results in anything between 267 and up, is going to be absolutely great, you are going to get very sharp imagery.

So 279 1/3 is just fine, it could be anything beyond 267, and this graphic is going to look great. And that's something you set inside Photoshop by the way. Now, we'll get modified if I were to scale this graphic, if I were to get the Scale tool. And I were to click let's say in the upper left-hand corner of this image, and then scale it to a smaller size, and I'm pressing the Shift Key, so I am scaling the image proportionally. Notice that the resolution value is changed, so when I reduce the size of the image, the resolution goes up, because I'm packing more pixels into a smaller space.

And so this value is always going to tell me the actual resolution at which this image will print. Anyway, I am going to and press Ctrl+Z Key, Command+Z Key on the Mac in order to undo that modification. Next, we have got this little link right there that says the name of the linked image, and if you click on it, then you will bring up a bunch of familiar options. There is Relink; it's just a command version of that Relink icon I showed you a moment ago. We've got Go To Link, Edit Original and Update Link, so they're all there. Slightly different order this time, Edit Original comes before Update Link in this list.

We've got Placement Options, which is going to determine how an image is going to be placed into a different container. So in other words, if you set up a frame in advance, how is that image going to fit to it. You can check out those options, they are actually well delineated inside the dialog box. And then finally we have this Link Information command, and if you choose it, you'll find out everything you need to know about this linked image. Where it's located, and this is telling me that is on my desktop, essentially inside that Exercise Files folder inside the 21_photoshop folder. It tells me how big the image is on disk, what kind of image it is, it's a tif image of course.

When it was created and modified and what kind of transformation has been applied? I went ahead and undid that scale; I applied a moment ago, so the scale values are 100% for both horizontal and vertical and no rotation has been applied. I am going to click OK, just to acknowledge that information. And that's what's going on, that's how you evaluate linked graphics inside a Photoshop. And in the next exercise, I will show you how to take a linked image and embed the file.

Find answers to the most frequently asked questions about Illustrator CS5 One-on-One: Advanced.


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Q: The instructions for installing the dekeKeys don't work on my computer (which is running Mac OS X Lion). Is there an update to these?
A: The dekeKeys distributed with this course will still work for Lion. You just need to add them to a slightly different folder than in previous versions of OS X.

Open a new Finder window and choose Go > Go to Folder. Type the following file path exactly as written below. Copying and pasting may result in an error.

~/Library/Preferences/Adobe Illustrator CS5 Settings/en_US

Move and/or copy/paste the dekeKeys to this folder and follow the rest of the instructions as outlined in the video, "Installing the dekeKeys keyboard shortcuts."
 
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