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Illustrator CS4 Beyond the Basics

Working within an EPS workflow


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Illustrator CS4 Beyond the Basics

with Mordy Golding

Video: Working within an EPS workflow

So you have got transparency in your Illustrator file and now you are ready to move that file outside of Illustrator. Maybe it's going to a page layout application like Adobe InDesign or QuarkXPress. Now, one of the standard formats that are used in graphic design for the past, I don't know how many years is EPS or Encapsulated PostScript. But remember that that file is actually PostScript, which does not support transparency. Now, Illustrator knows that it can't in anyway put a transparent object into that EPS file, because when that file does eventually get printed, it will not print or process correctly at all. Therefore, when Illustrator goes ahead and writes an EPS file, it actually takes the actual transparency and then flattens it before it creates the EPS file.
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  1. 2m 4s
    1. Welcome
      1m 41s
    2. Using the exercise files
      23s
  2. 33m 20s
    1. Introducing Live Paint
      38s
    2. Drawing in Illustrator
      4m 21s
    3. Creating a Live Paint group
      2m 54s
    4. Using the Live Paint Bucket tool
      3m 17s
    5. Using Live Paint with open paths
      2m 29s
    6. Detecting gaps in Live Paint groups
      4m 17s
    7. Adding paths to a Live Paint group
      3m 41s
    8. Using the Live Paint Selection tool
      5m 44s
    9. Releasing and expanding Live Paint groups
      2m 55s
    10. Understanding how Live Paint groups work
      3m 4s
  3. 49m 36s
    1. Introducing the trace options
      39s
    2. Setting expectations: Live Trace
      2m 26s
    3. Using the Live Trace feature
      1m 51s
    4. Understanding how Live Trace works
      5m 41s
    5. Making raster-based adjustments
      5m 52s
    6. Tracing with fills, strokes, or both
      2m 55s
    7. Making vector-based adjustments
      6m 12s
    8. Adjusting colors in Live Trace
      4m 39s
    9. Using Photoshop with Live Trace
      5m 22s
    10. Releasing and expanding Live Trace artwork
      2m 58s
    11. Saving and exporting Live Trace presets
      2m 36s
    12. Tracing in Batch mode with Adobe Bridge
      1m 35s
    13. Turning an image into mosaic tiles
      2m 28s
    14. Tracing an image manually
      4m 22s
  4. 1h 24m
    1. Introducing 3D
      33s
    2. Setting expectations: 3D in Illustrator
      2m 53s
    3. How fills and strokes affect 3D artwork
      4m 43s
    4. Applying the 3D Extrude & Bevel effect
      6m 25s
    5. Applying a bevel
      5m 40s
    6. Showing the hidden faces of a 3D object
      4m 49s
    7. Applying the 3D Revolve effect
      5m 22s
    8. Visualizing the revolve axis
      3m 5s
    9. Applying the 3D Rotate effect
      1m 35s
    10. Adjusting surface settings
      9m 33s
    11. Understanding the importance of 3D and groups
      3m 24s
    12. Preparing art for mapping
      10m 19s
    13. Mapping artwork to a 3D surface
      14m 21s
    14. Hiding geometry with 3D artwork mapping
      4m 0s
    15. Extending the use of 3D in Illustrator
      8m 7s
  5. 44m 37s
    1. Introducing transformations and effects
      32s
    2. Using the Transform panel
      12m 37s
    3. Repeating transformations
      5m 23s
    4. Using the Transform Each function
      3m 48s
    5. Using the Convert to Shape effects
      5m 49s
    6. Using the Distort & Transform effects
      5m 12s
    7. Using the Path effects
      6m 58s
    8. Using the Pathfinder effects
      4m 18s
  6. 28m 23s
    1. Introducing graphic styles
      33s
    2. Applying graphic styles
      10m 8s
    3. Defining graphic styles
      8m 46s
    4. Previewing graphic styles
      2m 10s
    5. Modifying graphic styles
      3m 30s
    6. Understanding graphic styles for text
      3m 16s
  7. 22m 49s
    1. Introducing advanced masking techniques
      32s
    2. Understanding clipping masks
      7m 15s
    3. Using layer clipping masks
      6m 30s
    4. Creating opacity masks
      8m 32s
  8. 1h 6m
    1. Introducing color
      40s
    2. Considering three types of color swatches
      7m 7s
    3. Managing color groups
      2m 58s
    4. Understanding the HSB color wheel
      3m 57s
    5. Understanding color harmonies
      2m 57s
    6. Using the color guide
      3m 54s
    7. Limiting the color guide
      3m 17s
    8. Modifying color with the Recolor Artwork feature
      6m 25s
    9. Using the Edit tab to adjust color
      5m 44s
    10. Using the Assign tab to replace colors
      8m 37s
    11. Making global color adjustments
      2m 17s
    12. Using Recolor options
      7m 3s
    13. Converting artwork to grayscale
      3m 23s
    14. Simulating artwork on different devices
      3m 18s
    15. Accessing Kuler directly from Illustrator
      2m 7s
    16. Ensuring high contrast for color-blind people
      2m 42s
  9. 53m 19s
    1. Introducing transparency
      40s
    2. Understanding transparency flattening
      2m 31s
    3. Exercising the two rules of transparency flattening
      10m 53s
    4. Understanding complex regions in transparency flattening
      4m 50s
    5. Exploring the transparency flattener settings
      8m 37s
    6. Using transparency flattening and object stacking order
      6m 39s
    7. Using the Flattener Preview panel
      6m 31s
    8. Creating and sharing Transparency Flattener presets
      2m 25s
    9. Working within an EPS workflow
      5m 3s
    10. Understanding the Illustrator and InDesign workflow
      5m 10s
  10. 50m 1s
    1. Introducing prepress and output
      23s
    2. Understanding resolutions
      8m 27s
    3. Discovering RGB and CMYK "gotchas"
      5m 42s
    4. Using Overprints and Overprint Preview
      7m 43s
    5. Understanding "book color" and proofing spot colors
      8m 1s
    6. Collecting vital information with Document Info
      2m 28s
    7. Previewing color separations onscreen
      1m 12s
    8. Making 3D artwork look good
      2m 16s
    9. Seeing white lines and knowing what to do about them
      2m 41s
    10. Creating "bulletproof" press-ready PDF files
      3m 45s
    11. Protecting content with secure PDFs
      2m 48s
    12. Using PDF presets
      2m 47s
    13. Moving forward: The Adobe PDF Print Engine
      1m 48s
  11. 35m 43s
    1. Introducing distortions
      27s
    2. Using the Warp effect
      4m 20s
    3. The Warp effect vs. envelope distortion
      3m 48s
    4. Applying the Make with Warp envelope distortion
      2m 45s
    5. Applying the Make with Mesh envelope distortion
      2m 41s
    6. Applying the Make with Top Object envelope distortion
      3m 45s
    7. Editing envelopes
      5m 0s
    8. Adjusting envelope settings
      4m 2s
    9. Releasing and expanding envelope distortions
      1m 44s
    10. Applying envelope distortions to text
      1m 27s
    11. Using the liquify distortion tools
      3m 5s
    12. Customizing the liquify tools
      2m 39s
  12. 28m 56s
    1. Introducing blends
      32s
    2. Blending two objects
      6m 18s
    3. Adjusting blend options
      5m 47s
    4. Blending anchor points
      5m 36s
    5. Blending three or more objects
      2m 9s
    6. Replacing the spine of a blend
      4m 32s
    7. Reversing the direction of a blend
      2m 15s
    8. Releasing and expanding a blend
      1m 47s
  13. 46m 54s
    1. Introducing charts and graphs
      35s
    2. Setting expectations: Graphs in Illustrator
      3m 19s
    3. Creating a chart
      8m 2s
    4. Importing data
      3m 34s
    5. Formatting data
      5m 1s
    6. Customizing a chart
      10m 21s
    7. Combining chart types
      2m 40s
    8. Creating graph designs
      6m 0s
    9. Styling and updating graphs
      5m 33s
    10. Ungrouping graphs
      1m 49s
  14. 26m 36s
    1. Introducing Gradient Mesh
      23s
    2. Understanding the Gradient Mesh feature
      9m 34s
    3. Using Gradient Mesh to add contoured shading
      6m 14s
    4. Using Gradient Mesh to create photorealistic effects
      10m 25s
  15. 8m 18s
    1. Introducing flare effects
      25s
    2. Drawing a lens flare
      3m 28s
    3. Modifying a lens flare
      1m 27s
    4. Using a mask with lens flares
      2m 58s
  16. 29s
    1. Goodbye
      29s

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Illustrator CS4 Beyond the Basics
9h 42m Intermediate Apr 03, 2009

Viewers: in countries Watching now:

Covering a wide range of topics, from advanced masking to chart creation, Illustrator CS4 Beyond the Basics reveals a whole new level of power, creativity, and efficiency with Illustrator. Instructor Mordy Golding explores how to work with Live Paint groups, get the most out of the Live Trace feature, and take advantage of Illustrator’s wide range of effects. He also discusses advanced transformation techniques, powerful 3D functionality, and important color concepts. Exercise files accompany the course.

Topics include:
  • Tracing artwork both automatically and manually
  • Mapping artwork to complex 3D surfaces
  • Using pressure-sensitive distortion tools
  • Recoloring artwork across a document
  • Using Excel data to create charts and graphs
  • Understanding how transparency really works
  • Creating high-quality, press-ready PDFs
  • Building efficient files with graphic styles
Subject:
Design
Software:
Illustrator
Author:
Mordy Golding

Working within an EPS workflow

So you have got transparency in your Illustrator file and now you are ready to move that file outside of Illustrator. Maybe it's going to a page layout application like Adobe InDesign or QuarkXPress. Now, one of the standard formats that are used in graphic design for the past, I don't know how many years is EPS or Encapsulated PostScript. But remember that that file is actually PostScript, which does not support transparency. Now, Illustrator knows that it can't in anyway put a transparent object into that EPS file, because when that file does eventually get printed, it will not print or process correctly at all. Therefore, when Illustrator goes ahead and writes an EPS file, it actually takes the actual transparency and then flattens it before it creates the EPS file.

Now, we have already discussed that when working with transparency inside of Illustrator, by default, Illustrator uses the Medium Resolution Flattener Preset. Now, if I now choose to print my file, for example. I have here this Flattener Preview file, I have some transparency that exist inside of my document, I'm going to the File menu and choose to print my document. Now, in the Print dialog box, I have the ability to change to a different preset if I want to, when I choose to actually print my document. But like I said before, the default setting is always going to be the Medium Flattener Preset.

Now, I can see that by going to the Advanced Setting here, inside of the Print dialog box, and see where it says Preset here, it's currently set to Medium Resolution. But if I wanted to get a better print, I could go ahead here and choose the High Resolution Preset. Now, I'll click cancel over here, because maybe what I want to do in this particular case is actually save an EPS file. So I'm going to go to the File menu here. I'm going to choose Save As, and let's throw this on my desktop here. I'm going to choose to Export this not as an Illustrator file but as an EPS file. Now, when I choose the Save button, I get the EPS Options dialog box. Now, since this file does have transparency I have the ability to choose a preset, which determines how that transparency is actually flattened.

Now, if I don't pay attention to this at all, then Illustrator is going to use the Medium Resolution Preset, which is maybe fine just to get something printed very quickly, but we already know that the Medium Resolution Preset has that Vector Balance slider set at 75, and doing so, Illustrator does have the ability in very complex examples to actually rasterize certain areas for performance reasons. Now, when I create my EPS file, what's inside the EPS file is Flattened Information. No matter how good of a printer I'm dealing with and no matter how fancy his RIP is or how much memory he has, once I save my EPS file out of Illustrator, there is nothing that printer can change inside of the file. It's going to print the way that I actually flattened the file here when I create the EPS file.

So if I don't pay attention to this setting and I always just set it using the Medium Resolution setting, I'll always have a situation where I may not get the best type of flattening out of my document. So if I do need to use an EPS file out of Illustrator, and again that may be because I'm working with QuarkXPress for example, I'll always want to come over here to the Preset setting and at least choose to save my file using the High Resolution Preset. In this way I know that when I'm creating my EPS file, I'm creating the highest quality EPS file that I can possibly make out of Illustrator.

Alternatively, if I do have my own flattener preset that I have loaded, I could choose to select that particular preset here as well. I'll click Cancel here, because there is one other point that I want to make. You may be familiar with actually exporting or saving EPS files out have Illustrator before, but you also know that you can reopen those EPS files back inside of Illustrator, and when you select the objects in that file, it doesn't appear as there is any flattening at all. The transparency exists live just as it did when you were working inside of Illustrator before. Well, that happens because Illustrator is a smart program. It knows that when you create a document inside of Illustrator, all your transparency is live on your artboard. You can do anything that you want to do. However, when you go ahead and you choose to actually export or save an EPS file, that file will now become flattened.

Now, if you were to go ahead now and reopen that EPS file back into Illustrator to work on it and edit it, you don't want to have a file that's already broken up into pieces, you don't want to lose your editability, so what Illustrator does when it saves an EPS file is it actually saves two versions of your file within that one file. When you choose to save an EPS file, Illustrator writes an EPS file, which is the PostScript file, which is flattened, but it also saves a native version of the Illustrator file, which is in an un -flattened state, inside of that same file. So now when you go ahead and you take that EPS file and you place it into another program, for example, QuarkXPress. QuarkXPress sees the EPS file, understands that file, and places it into its application.

However, if you reopen that EPS file back into Illustrator, Illustrator recognizes its own native file that's also in that file and it reads that information instead of the EPS file. In fact, that's why EPS files are so large when saved out of Illustrator, it's because there are two versions of your file inside of that one file. So it's okay to save your file out of Illustrator using EPS, you will always know that you can reopen it to edit again back inside of Illustrator, but you just want to make sure that your Flattener Preset is set to that High Quality Preset to make sure that you get the best possible printing results, no matter where you print that EPS file.

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