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Placing an Illustrator graphic

From: Photoshop CS5 One-on-One: Mastery

Video: Placing an Illustrator graphic

In this exercise, I am going to show you how to bring an Adobe Illustrator graphic into Photoshop as a Smart Object. There is all kinds of reasons you might want to do this. For example you might prepare a logo inside of Illustrator or some other kind of specialty type or a dynamic effect or there are all kinds of things that Illustrator does better than Photoshop. Bear in mind, the two programs serve very different purposes. Photoshop despite its prowess in other areas is ultimately a pixel-based image editor, whereas Illustrator is ultimately a vector-based drawing program.

Placing an Illustrator graphic

In this exercise, I am going to show you how to bring an Adobe Illustrator graphic into Photoshop as a Smart Object. There is all kinds of reasons you might want to do this. For example you might prepare a logo inside of Illustrator or some other kind of specialty type or a dynamic effect or there are all kinds of things that Illustrator does better than Photoshop. Bear in mind, the two programs serve very different purposes. Photoshop despite its prowess in other areas is ultimately a pixel-based image editor, whereas Illustrator is ultimately a vector-based drawing program.

So, they really do work hand-in-hand with each other. If you bring an illustration into Photoshop then you really turn the two programs into kind of sister applications, so that you can rasterize the Illustration on the fly inside Photoshop then you can double-click on the Smart Object layer to open the illustration in Illustrator, make modifications, save your modifications back to Photoshop and so on. It's actually a remarkable solution. So, what we are going to do is we are going to grab a fairly simple illustration and we are going to apply it to this guy's arm as a tattoo.

Now the name of this image is Meaty bicep.jpg found inside the 29_smart_objects folder. It comes to us from Vladimir Wrangel of the Fotolia Image Library about which you can learn more at fotolia.com/deke. Now, there is a handful of ways of bringing an illustration into Photoshop as a Smart Object. One is to go up to the File menu and choose the Place command or if you load the dekeKeys you've got a keyboard shortcut of Ctrl+Shift+Alt+D or Command+Shift+Option+D on the Mac. Then navigate your way to the 29_smart_objects folder. You'll see more files in this but one of them will be Tiger tattoo.ai.

Go ahead and click the Place button in order to bring up the Place PDF dialog box. Now, I've got my Thumbnail Size set to Fit Page so that we can see a big if a little bit jagged version of a preview of this illustration. Note, that it says Place PDF even though this is an .AI file, meaning it's a native Illustrator graphic, it has a PDF version of that graphic built into it. I'll show you how to make sure that you save your illustrations with PDF definitions as well but for now, I'll just go ahead and click OK in order to place that graphic.

It will come in very large because Photoshop is sizing the graphic according to how big it was drawn in Illustrator in the first place relative to the size of your image. That's not anything to worry about, because you can resize this graphic any which way you like. In fact, Photoshop is inviting me to resize the graphic first thing. So, I'll go up to the Options Bar, click on the Link icon and I'll change the Width value let's say to 50%. Now, I am by no means locked into this value here. I can transform this graphic later as much as I want. Because it's a vector-based Smart Object, it is ultimately protected from damage.

It works like any other vector object inside of Photoshop which would include text or vector-based shape outlines, path outlines, vector masks and so on. All right, so I am going to go ahead and press the Enter key a couple of times or the Return key on the Mac to accept that resizing. Now, we have a Smart Object layer and you can tell it's a Smart Object because of this little icon there. Notice it's a page with a little linked file next to it. What that's really telling us is we have now embedded the entire .AI file into this Photoshop composition.

The AI file actually exists inside of the Photoshop document. Now, I can double-click on that thumbnail in order to open the file in Illustrator anytime I like. This is not a link, this is important to bear in mind. We are not linked to that Tiger tattoo.ai file on disk. We could make as many changes to that file as we want and this Smart Object would not change. This as an embed meaning that the illustration and this Photoshop composition cannot be separated from each other. I'll press the Backspace key or the Delete key on the Mac to get rid of that new layer.

Another way to work here inside of Photoshop CS5 is to go ahead and drag and drop the file from the desktop. So, here is the folder at the desktop level, here in the Explorer on the PC, it would be the Finder on the Mac. I am looking at the contents of the 29_smart_objects folder. The content so far again, those of you who are working along with me will see many more files in this. I would just go ahead and grab Tiger tattoo. ai and I would drag and drop it into Photoshop. I get that same Place PDF dialog box I got before, I'd click OK and then I would be allowed to scale my file as I place it.

I am going to Cancel because I want to show yet another method. I'll bring up my Mini Bridge so that's an option as well and I can get it by clicking on this little Mini Bridge icon in this column of panel icons that I've setup or I could go up here to the Applications Bar and click Launch Mini Bridge. Notice that I've navigated to the 29_smart_objects folder and there's my Tiger tattoo.ai graphic. By the way I should say this is not mine, I did not draw it. It comes to us from Miguel, also of the Fotolia Image Library. I am going to go ahead and drag and drop that guy into place, I'll get the same dialog box.

I will once again click OK. Then I will be invited to size the graphic, I'll go up to the Options bar, turn on Link icon, change the Width value to 50%, yadi-yada. Press the Enter key or the Return key on the Mac a couple of times and Bob's your uncle, there is your tiger. Anyway, I am going to hide the Mini Bridge. Now, I do want you to note one thing. I am going to press Ctrl+K or Command+K on the Mac to bring up the Preferences dialog box. There's this check box right there that says Place or Drag Raster Images as Smart Objects. You probably want that to be turned on that's a good idea.

But notice that it says Raster Images and if I hover over it, it even goes so far as to tell me this does not apply to placing vector or video files. So, what we just did happens no matter what. Whenever you're bringing an Illustrator file into Photoshop it comes in as a Smart Object. If you choose the Place command or you do a drag and drop from the desktop level or you do a drag and drop from the Mini Bridge or you do a drag and drop from the Bridge; you can to do that as well. So, any of those methods that's going to bring the .AI file in as a Smart Object no matter what, it could be a PDF file as well incidentally.

Anyway, I just you to note that this check box specifically applies to raster images that is pixel-based images saved into JPEG format, Tiff or what have you. All right, so I am going to Cancel out. It's still a good idea to have the check box on and it already is for me so I am going to Cancel out here. There is one more way believe it or not to bring in Illustrator Smart objects in the Photoshop, and that's to do a copy inside of Illustrator and a paste inside Photoshop and I'll demonstrate how that works in the next exercise.

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This video is part of

Image for Photoshop CS5 One-on-One: Mastery
Photoshop CS5 One-on-One: Mastery

192 video lessons · 44188 viewers

Deke McClelland
Author

 
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  1. 40m 45s
    1. Welcome
      2m 45s
    2. Making Photoshop your default image editor
      7m 43s
    3. Installing the dekeKeys keyboard shortcuts
      8m 10s
    4. Remapping OS shortcuts
      7m 37s
    5. Installing the Best Workflow color settings
      4m 31s
    6. The color settings explained
      6m 54s
    7. Loading the CS5 color settings in Bridge
      3m 5s
  2. 1h 11m
    1. Your creative range continues to expand
      1m 46s
    2. The Avatar project so far
      2m 38s
    3. Painting on a photograph
      7m 50s
    4. Adding texture and depth
      6m 14s
    5. Simulating chalky white paint
      7m 23s
    6. Masking and placing an image
      7m 20s
    7. Upsampling and Lens Blur
      5m 9s
    8. Blending blurry elements
      3m 48s
    9. Making a Smart Object
      6m 46s
    10. Placing an image as a Smart Object
      3m 22s
    11. Blending away a background
      5m 56s
    12. Applying Smart Filters
      4m 34s
    13. Creating a glow with Lens Flare
      3m 45s
    14. Blending and masking a glow
      5m 3s
  3. 1h 26m
    1. Using the image to select itself
      1m 53s
    2. Introducing masking
      6m 32s
    3. Making an alpha channel
      6m 54s
    4. Using the Calculations command
      6m 48s
    5. Add, Subtract, Offset, and Scale
      5m 54s
    6. Prepping an image with the Dodge tool
      6m 55s
    7. Fixing mistakes before they get too big
      6m 32s
    8. Painting in the Overlay mode
      5m 51s
    9. Exaggerating and selecting flesh tones
      7m 39s
    10. Smudge, Median, and the Blur tool
      6m 59s
    11. Masking low-contrast details
      6m 7s
    12. Creating a flesh-and-clothing mask
      5m 45s
    13. Masking and compositing the foreground
      5m 27s
    14. Finessing the final composition
      7m 39s
  4. 2h 24m
    1. Connecting the dots
      1m 40s
    2. The Pen tool and the Paths panel
      6m 32s
    3. Drawing a straight-sided outline
      6m 25s
    4. Editing a path outline
      6m 36s
    5. Adding and editing smooth points
      5m 35s
    6. Creating vector masks with the shape tools
      4m 59s
    7. Building a complex outline from shapes
      4m 26s
    8. Subtracting and transforming shapes
      6m 45s
    9. Cloning, flipping, and combining shapes
      8m 58s
    10. Roughing in non-symmetrical paths
      7m 41s
    11. Finessing a complex outline
      9m 15s
    12. Masking a layer effect
      8m 26s
    13. Isolating an image element
      6m 8s
    14. Smooth points and control handles
      9m 3s
    15. Stretching curved segments
      7m 49s
    16. Using the Rubber Band option
      9m 33s
    17. Drawing smooth points with the Pen tool
      6m 59s
    18. Shading an isolated object
      3m 45s
    19. Drawing cusp points
      7m 14s
    20. Setting points in the pasteboard
      9m 57s
    21. Using the Convert Point tool
      6m 42s
  5. 2h 57m
    1. Everything you need to know about blending
      1m 45s
    2. Photoshop CS5's blend modes
      7m 21s
    3. Cycling between blend modes
      6m 15s
    4. Darken and Lighten and their derivatives
      6m 3s
    5. The blend mode shortcuts
      8m 6s
    6. The Multiply and Burn modes
      4m 28s
    7. The Screen and Dodge modes
      6m 0s
    8. How opposite blend modes work
      8m 24s
    9. Why Multiply darkens and Divide lightens
      5m 23s
    10. Cleaning up a client's bad art
      5m 3s
    11. Dropping out a white background
      5m 56s
    12. Blending inside blend modes
      8m 3s
    13. Overlay, Soft Light, and Hard Light
      6m 26s
    14. Vivid, Linear, and Pin Light (and Hard Mix)
      6m 35s
    15. Difference, Exclusion, Subtract, and Divide
      7m 34s
    16. Great uses for the Difference mode
      6m 18s
    17. Promising uses for the Divide mode
      9m 6s
    18. Hue, Saturation, Color, and Luminosity
      7m 0s
    19. Blending an inverted layer
      3m 32s
    20. The "Fill Opacity Eight"
      7m 25s
    21. Making bad blend modes good
      5m 16s
    22. Making a knockout layer
      6m 53s
    23. Blending in the CMYK mode
      8m 3s
    24. Overprinting black text
      8m 29s
    25. Using the Luminance slider
      5m 24s
    26. Parametric luminance masking
      6m 21s
    27. Adjusting the behavior of luminance effects
      10m 8s
  6. 2h 2m
    1. Smart Objects = protective containers
      1m 35s
    2. Placing an Illustrator graphic
      6m 30s
    3. Vector copy and paste options
      6m 56s
    4. Applying Puppet Warp to vectors
      8m 9s
    5. "Gluing" vector art for Puppet Warp
      5m 50s
    6. Warping art onto the surface of an image
      8m 7s
    7. Blending a Smart Object
      4m 30s
    8. Blurring and blending a Smart Object
      6m 8s
    9. Making changes in Illustrator
      5m 57s
    10. Creating "true clones"
      7m 18s
    11. Double-flipping text
      4m 44s
    12. Applying effects to multiple layers
      3m 24s
    13. Updating true clones in one operation
      7m 36s
    14. Editing JPEGs as Camera Raw objects
      5m 49s
    15. Creating a double-exposure effect
      7m 15s
    16. Masking and shading transitions
      7m 47s
    17. Applying and repeating Camera Raw edits
      6m 9s
    18. Copying vs. cloning a Smart Object
      5m 18s
    19. Flipping a Smart Object and its mask
      3m 42s
    20. Adjusting multiple Camera Raw clones
      3m 53s
    21. Text that inverts everything behind it
      5m 34s
  7. 1h 59m
    1. This time, "smart" means dynamic
      1m 37s
    2. Introducing Smart Filters
      6m 28s
    3. Traditional High Pass sharpening
      5m 17s
    4. Smart High Pass in the Lab mode
      7m 57s
    5. Sharpening a high-frequency image
      7m 46s
    6. Retroactively reducing noise
      7m 31s
    7. Which filters are Smart Filters?
      6m 20s
    8. Shadows/Highlights as a Smart Filter
      4m 37s
    9. Nesting one Smart Object inside another
      7m 11s
    10. Drawing a mask from a nested Smart Object
      8m 7s
    11. Better Shadows/Highlights inside Lab
      9m 16s
    12. Tempering saturation values in Lab
      7m 0s
    13. Filtering live, editable text
      9m 2s
    14. Enhancing filters with layer effects
      4m 33s
    15. Applying a filter multiple times
      5m 0s
    16. Creating a synthetic star field
      7m 7s
    17. Making a stucco or drywall pattern
      6m 28s
    18. Land, sea, and clouds
      8m 30s
  8. 2h 50m
    1. Photoshop's advanced painting tools
      2m 3s
    2. Canvas texture and brush libraries
      6m 40s
    3. Painting with a predefined custom brush
      9m 21s
    4. Dissecting a custom brush
      11m 9s
    5. Designing and using a custom brush
      4m 54s
    6. Saving and loading brush presets
      5m 27s
    7. The ten styles of bristle brushes
      9m 47s
    8. Size, Spacing, and Angle
      7m 2s
    9. Using the Bristle Brush preview
      7m 53s
    10. Bristles, Length, Thickness, and Stiffness
      6m 53s
    11. Stylus tilt and mouse behavior
      5m 25s
    12. Stroking a path outline with a brush
      4m 0s
    13. Troubleshooting a stylus
      5m 49s
    14. Introducing the Mixer Brush
      7m 22s
    15. The Load, Mix, and Wet values
      5m 1s
    16. Cleaning and loading a brush
      6m 26s
    17. Shading a piece of graphic art
      6m 34s
    18. Shading with color
      7m 53s
    19. Mixing a photographic portrait
      6m 11s
    20. Tracing the fine details in an image
      5m 52s
    21. Crosshatching and brush size
      5m 53s
    22. Covering up and augmenting details
      7m 36s
    23. Painting in hair and fabric
      5m 54s
    24. Painting and scaling very fine hairs
      8m 7s
    25. Adding texture with the Emboss filter
      8m 31s
    26. Exploiting a "happy accident"
      2m 46s
  9. 1h 40m
    1. Artificial intelligence that works
      1m 22s
    2. The Auto-Align Layers command
      7m 25s
    3. The Auto-Blend Layers command
      3m 54s
    4. Masking auto-aligned layers
      4m 50s
    5. The Geometric Distortion setting
      6m 44s
    6. The Seamless Tones and Colors checkbox
      4m 8s
    7. Creating the best possible layer mask
      9m 18s
    8. Auto-blending depths of field
      5m 54s
    9. Finessing masks, accepting imperfections
      6m 29s
    10. Shooting and downsampling panorama images
      5m 54s
    11. Introducing the Photomerge command
      6m 40s
    12. Evaluating the Layout settings
      6m 47s
    13. Loading, aligning, and blending with Photomerge
      5m 36s
    14. Tracing and extracting seams
      7m 18s
    15. Adding a masked element into a panorama
      5m 55s
    16. Simplifying and correcting a panorama
      5m 58s
    17. Smart Filters and nondestructive cropping
      6m 43s
  10. 1h 18m
    1. The most mysterious of mysterious topics
      2m 29s
    2. Introducing HDR Toning
      6m 43s
    3. Reigning in clipped highlights
      5m 54s
    4. The Local Adaptation options
      9m 5s
    5. Nondestructive editing with HDR Toning
      8m 22s
    6. Using the HDR Toning Curve
      7m 2s
    7. HDR Toning vs. Shadows/Highlights
      6m 0s
    8. Merging multiple exposures
      7m 14s
    9. A first look at HDR Pro
      6m 24s
    10. Removing ghosts, correcting backlighting
      7m 11s
    11. Generating and editing an HDR comp
      7m 0s
    12. HDR rendered to completion
      5m 19s
  11. 1h 27m
    1. Processing hundreds of files in no time
      1m 43s
    2. Creating an action set
      6m 37s
    3. Making an action
      7m 7s
    4. Stop, Delete, and Record
      7m 12s
    5. Add, Undo, and Rerecord
      6m 40s
    6. Playing and testing an action
      6m 31s
    7. Playing and editing a specific operation
      6m 39s
    8. Permitting the user to change settings
      4m 58s
    9. Explaining an action with a custom stop
      5m 0s
    10. Batch-processing multiple images
      7m 22s
    11. Adding a Save As operation
      6m 34s
    12. Creating an action to save web graphics
      7m 59s
    13. Batching two actions into one
      7m 15s
    14. Saving and loading actions
      5m 30s
  12. 1m 19s
    1. See ya
      1m 19s

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