Illustrator for Lunch™ - Using Photoshop Objects in Illustrator - Images, Shapes, Patterns and more | Helen Bradley | Skillshare

Illustrator for Lunch™ - Using Photoshop Objects in Illustrator - Images, Shapes, Patterns and more

Helen Bradley, Illustrator for Lunch™ & Photoshop for Lunch™

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
6 Lessons (25m)
    • 1. Illustrator for Lunch™ - Use Photoshop Objects in Illustrator - Introduction

      1:16
    • 2. Illustrator for Lunch™ - Pt 1 - Take an Image from Photoshop to Illustrator

      2:54
    • 3. Illustrator for Lunch™ - Pt 2 - Transparency from Photoshop to Illustrator

      5:09
    • 4. Illustrator for Lunch™ - Pt 3 - Take a Shape from Photohop to Illustrator

      3:45
    • 5. Illustrator for Lunch™ - Pt 4 - Export Shapes as an Illustrator File

      3:31
    • 6. Illustrator for Lunch™ - Pt 5 - Pattern Swatches from Photoshop to Illustrator

      8:37

About This Class

Illustrator for Lunch™ is a series of short video courses you can study in bite size pieces such as at lunchtime. In this course you'll learn how to take Photoshop objects to Illustrator. You will learn how to take images, images with transparency, shapes, paths and pattern swatches from PS to IL. Here is an example from the class - a free downloaded Photoshop shape has been taken to Illustrator for use in an Illustrator document:

daa43a99

 

More in this series:

4 Illustrator Shading Techniques - An Illustrator for Lunch™ class - Simple Highlights & Shadows

5 Hexagon Patterns in Illustrator - an Illustrator for Lunch? course

Create Color Schemes in Illustrator for Using, Sharing & Selling - An Illustrator for Lunch? Class

Create Patterns in Adobe Capture for Illustrator & Photoshop

Create Wreaths & Other Floral Designs - An Illustrator for Lunch™ Class

Designing with Spirals - An Illustrator for Lunch™ Class

Doodle Flower Design & Pattern in Illustrator - An Illustrator for Lunch™ Class

Draw a Hot Air Balloon in Illustrator - Fun with 3D! 

Illustrator - Design in Black and White - Create Positive/negative images

Illustrator for Lunch? - 10 Interface and Setup tips too Speed your Workflow

Illustrator for Lunch™ - 10 in 10 - 10 Align tips in 10 minutes or less 

Illustrator for Lunch™ - 10 in 10 - 10 Type Tips in 10 minutes (or less) 

Illustrator for Lunch™ - 10 in 10 - Ten Top Illustrator Tips in 10 Minutes 

Illustrator for Lunch™ - 10 Layer Tips in 10 minutes

Illustrator for Lunch™ - 10 Pattern tips in 10 Minutes 

Illustrator for Lunch™ - 10 Pen tool and Path Tips in 10 Minutes or Less 

Illustrator for Lunch™ - 20 Appearance Panel Tips in 20 minutes or less

Illustrator for Lunch™ - 20 Color tips in 20 Minutes

Illustrator for Lunch™ - 20 Gradient tips in 20 minutes

Illustrator for Lunch™ - 20 Pathfinder, Crop and Cutout tips in 20 minutes or less

Illustrator for Lunch™ - 20 Recolor Artwork tips in (around) 20 minutes

Illustrator for Lunch™ - 20 Reflect and Rotate tips in 20 minutes or less

Illustrator for Lunch™ - 20 Things New Illustrator Users Need to Know

Illustrator for Lunch™ - 3D Extrusion Effects - Text, Shapes, 3D

Illustrator for Lunch™ - 3D Perspective Cube design and Bonus 3D star

Illustrator for Lunch™ - 4 Exotic Patterns - Quatrefoils, Moroccan Trellis, and Layered Diamond 

Illustrator for Lunch™ - 4 Handy Patterns - Diagonals, Plaid, Colorful Dots, Chevron

Illustrator for Lunch™ - 5 Cool Text Effects

Illustrator for Lunch™ - Abstract Ombre Background - Color Scheme, Blend, Transform 

Illustrator for Lunch™ - All you need to know about Brushes in Illustrator

Illustrator for Lunch™ - Backgrounds for your projects - Sunbursts, Halftone, Blends & Brushes 

Illustrator for Lunch™ - Banner and Award Badges - Appearance Panel, Masks, Warp 

Illustrator for Lunch™ - Blends and Gradients - Blends, Blend Modes, Gradients 

Illustrator for Lunch™ - Braids, Rick Rack and More

Illustrator for Lunch™ - Circle Based Patterns - Rotate, Blend, Multi-Color Dots

Illustrator for Lunch™ - Clipping Masks, Opacity Masks & Layer Masks

Illustrator for Lunch™ - Complex Block and Half Drop Repeat patterns

Illustrator for Lunch™ - Complex Rotated Repeating Patterns Made Easy - Using MadPattern templates 

Illustrator for Lunch™ - Create a Floral Alphabet character

Illustrator for Lunch™ - Create a Nighttime Cityscape Image

Illustrator for Lunch™ - Create a Plaid or Tartan Pattern

Illustrator for Lunch™ - Create a Range of Triangle Patterns

Illustrator for Lunch™ - Create a Retro Landscape Illustration

Illustrator for Lunch™ - Create a Textured Dot Pattern - Transform, Vector Texture, Patterns 

Illustrator for Lunch™ - Create a Wave Pattern 

Illustrator for Lunch™ - Create a Whimsical Tree

Illustrator for Lunch™ - Create an Ikat Inspired Pattern

Illustrator for Lunch™ - Create an Isometric Cube Pattern - Shape Builder, Align, Pattern Make

Illustrator for Lunch™ - Create Complex Art in the Appearance Panel

Illustrator for Lunch™ - Create Diamond, Harlequin and Argyle Patterns

Illustrator for Lunch™ - Create Guilloche Effects

Illustrator for Lunch™ - Create Hi-Tech HUD rings

Illustrator for Lunch™ - Create Perfectly Overlapped Rotated Shapes

Illustrator for Lunch™ - Create Seasonal Ornaments - Learn new skills while making seasonal art

Illustrator for Lunch™ - Create Stitches and Sewing Elements

Illustrator for Lunch™ - Create with bends and blends - techniques for icons, logos and more

Illustrator for Lunch™ - Creative Half tone Effects

Illustrator for Lunch™ - Custom Corner Tiles for Pattern Brushes

Illustrator for Lunch™ - Cute Furry Creatures

Illustrator for Lunch™ - Cutout Text Effects - Photos, Pathfinder & Text

Illustrator for Lunch™ - Designing with Symmetry

Illustrator for Lunch™ - Doodle-Style Heart - DIY Brushes and Nested Shapes

Illustrator for Lunch™ - Draw a Retro TV - Shapes, Texture & Sunburst

Illustrator for Lunch™ - Draw a Vintage Birdcage - Shapes, Transform, Texture

Illustrator for Lunch™ - Faux Tissue Paper Collage - Blending, Texture, Transparency 

Illustrator for Lunch™ - Flat and Dimensional drawing techniques

Illustrator for Lunch™ - Fun Effects with Graphic Styles - Appearances, Brushes, Styles 

Illustrator for Lunch™ - Fun with Scripts - Download, Install, Run

Illustrator for Lunch™ - Get Creative with Blends and Brushes

Illustrator for Lunch™ - Get Export File Sizes and Resolution Correct

Illustrator for Lunch™ - Going in Circles - Brushes, Blends & Transformations

Illustrator for Lunch™ - Gradient Background Effects - Find, Adapt, Create & Use

Illustrator for Lunch™ - Houndstooth & Rose - Vector Halftone Tracing & Houndstooth Pattern 

Illustrator for Lunch™ - Illustrating Cacti with Custom Made Brushes

Illustrator for Lunch™ - I'm Seeing Stars - Fill, Warp, Clip & Crop Shapes

Illustrator for Lunch™ - In the Frame - Shapes, Fills, Strokes & Color

Illustrator for Lunch™ - In the Kitchen - Cartoon Art with Live Paint 

Illustrator for Lunch™ - In Your Face - Pen Tool Practice 

Illustrator for Lunch™ - Layered Paper Style Collage - Gradients, Graphic Styles, Transform 

Illustrator for Lunch™ - Let's Go Steampunk! - Shapes, Rotation, Textures 

Illustrator for Lunch™ - Make a 2017 Calendar from Scratch - Grids, Layouts, Text, Patterns & More 

Illustrator for Lunch™ - Make a 3D Y Shape Pattern - from paper illustration to digital design

Illustrator for Lunch™ - Make a Lace Pattern Brush - Stroke, Blends, Pattern Tiles, Rotation 

Illustrator for Lunch™ - Make an Organic Spiral Pattern

Illustrator for Lunch™ - Make Art Brushes - Configure, Color & Scale

Illustrator for Lunch™ - Make Art Using Other People's Art 

Illustrator for Lunch™ - Make Custom Organic Patterns - Transform, Scissors, Align, Pattern Swatch 

Illustrator for Lunch™ - Make Retro Shapes - Pathfinder, Scripts, Rotation

Illustrator for Lunch™ - Make Scrapbook Papers to Sell - Patterns, File Formats, Marketing Materials 

Illustrator for Lunch™ - Make to Sell Printables - Stripes, Grid, Lines & Isometric Grid

Illustrator for Lunch™ - Mastering Live Trace - Turn Bitmaps to Vectors

Illustrator for Lunch™ - Meandering Hexagon Pattern

Illustrator for Lunch™ - More fun with Scripts - Text to code, more scripts, more fun (trees too!)

Illustrator for Lunch™ - Multi-Color Faux Pattern - Patterns, Transform, Expand 

Illustrator for Lunch™ - Neon Effect - Appearances, Graphic Styles, Fonts

Illustrator for Lunch™ - On (a pattern making) Safari - Repeating Patterns 

Illustrator for Lunch™ - One Design Concept - Many Variations 

Illustrator for Lunch™ - Pattern in a Pattern - Achieving the Impossible in Illustrator 

Illustrator for Lunch™ - Pattern in Pattern & Irregular Repeating Patterns

Illustrator for Lunch™ - Pattern Know-how - Install, Transform, Recolor

Illustrator for Lunch™ - Pattern of Lines and Dots

Illustrator for Lunch™ - Pop Art Style Star Pattern 

Illustrator for Lunch™ - Real Time Mandala Design

Illustrator for Lunch™ - Real Time Mirror Drawing - Symmetrical drawing

Illustrator for Lunch™ - Road Trip - Custom Brushes and Live Paint

Illustrator for Lunch™ - Roaming Square Pattern

Illustrator for Lunch™ - Seamless Repeating Texture Patterns

Illustrator for Lunch™ - Season's Greetings - Shapes, Brushes, Texture 

Illustrator for Lunch™ - Semi Transparent Flowers - Scatter Brushes, Opacity, Blend Modes 

Illustrator for Lunch™ - Sharing and archiving files - troubleshooting the pitfalls

Illustrator for Lunch™ - Sketchy Image Effect - Image Trace, Swatches, Sketchy Effect

Illustrator for Lunch™ - Something's Fishy - Appearance Panel Tips & Tricks 

Illustrator for Lunch™ - Stipple Texture Effect - Grain, Gradients, Blends 

Illustrator for Lunch™ - String Art Inspired Designs

Illustrator for Lunch™ - Stylish Doodles to Make and Sell

Illustrator for Lunch™ - Type on a Path - Type, Paths, Shapes

Illustrator for Lunch™ - Using & Troubleshooting Bounding Boxes

Illustrator for Lunch™ - Using Photoshop Objects in Illustrator - Images, Shapes, Patterns and more

Illustrator for Lunch™ - Vector Textures - Vectors, Clipping Masks, Pathfinder

Illustrator for Lunch™ - Warp Shapes & Text - Envelope Distort, Warp, Gradients 

Illustrator for Lunch™ - Watercolor Magic - Type, Downloaded Patterns & Brushes 

Illustrator for Lunch™ - Watercolor stripe seamless repeating pattern

Illustrator for Lunch™ - Whimsical diagonal line patterns

Illustrator for Lunch™ - Whimsical Scrapbook Paper Designs to Sell or Share

Illustrator for Lunch™ - Whimsical Text Effects

Illustrator for Lunch™ - Whimsical Textured Drawings Using Hand Drawn Brushes

Illustrator for Lunch™ - Zentangle® Inspired Pattern Brushes - Shapes, Effects, Brushes

Make Ditsy Patterns in Illustrator

Pattern Design in Illustrator Masterclass

Piping Effect in Illustrator - An Illustrator for Lunch™ Class

Rainbow Gradient Shape & Text Effects in Illustrator - an Illustrator for Lunch™ class

Terrazzo Patterns Without Drawing a Shape! - An Illustrator for Lunch? Class

 

 

 

 

 

Transcripts

1. Illustrator for Lunch™ - Use Photoshop Objects in Illustrator - Introduction: Hello, I'm Helen Bradley. Welcome to this episode of Illustrator For Lunch: Use Photoshop Objects in Illustrator. You'll find that Illustrator For Lunch is a series of illustrator classes, which teach a small range of illustrator techniques in each class, and you'll get an opportunity to practice your skills in your class project. Today, we're looking at how to use Photoshop objects in Illustrator. So you're going to learn how to take patents watches from Photoshop to Illustrator, images, images that have got transparency in them, and also shape some paths. Now, as you're watching these videos, you'll see a prompt which lets you recommend this class to others. Please, if you're enjoying the class, it would be really great if you could do two things for me. Firstly, give it a thumbs up. Secondly, write just a few words about why you're enjoying the class. Now, I ask this because recommendations like these help other students to say that this is a class that they too might like. Now for me, if you'd like to leave a comment or a question, please do so, I read and respond to all of your comments and questions, and I look at and I respond to all of your class projects. So if you're ready now, let's get started taking things from Photoshop to Illustrator. 2. Illustrator for Lunch™ - Pt 1 - Take an Image from Photoshop to Illustrator: The first technique we're going to look at is taking a whole image, a rectangular image from Photoshop into Illustrator. Now, this is a photograph that had a lot of things done to it in Photoshop, and I want to take it to Illustrator so I can use it as a background to a project there. To do this, I need to select everything, so I'm going to choose Select, All and I'm going to choose Edit, Copy, and that just makes a copy of this image to the Windows or the Mac clipboard. I'm going to Illustrator at this point, and I'm going to create a new file, or I could just open the file that I want to put this image in. The width and height of this art board are 1,000 pixels, and I'm using RGB color mode. That's particularly appropriate since I'm bringing in a photographic elements. I'm going to click okay, and all I need to do inside Illustrator is unsurprisingly, choose Edit, Paste. Now this image, when it was in Photoshop, or if we would have a look at it in Photoshop, it's actually a 1,000 pixels wide. I'm choosing Image, Image Size. I'm going to say it's a 1,000 pixels by 724 pixels. It's coming to Illustrator on the face of it looking quite a bit smaller than that. So I'm just going to hold the shift key as I enlarge it. If I enlarge it only as far as the art board itself, then we shouldn't see any significant degradation in quality in this photograph. But it is a bitmap image, and so if we enlarge it, it's going to lose quality. Now let's just go back to Photoshop, and quickly see what would happen if we had, for example, put an adjustment layer over this image. I'm going to choose Layer, New Adjustment Layer. I'm just going to put a simple black and white adjustment layer over the image. Lets just beef up the reds here, because these leaves were very red. Now if we look in the last panel, we've got two layers, and choosing Select, All, it's going to select the data from both of these layers, but when we go to copy our image, we have to do it a little bit differently. We need to choose Edit, and then Copy Merged. That is treating this image then as if it were flattened, so all the data from all the visible layers will be copied. I'm just going to click Copy Merged. Let's swing across to Illustrator. Just going to move this image out of the way, and let's just paste in the one that we've brought this time, Edit, Paste. You can see now that we've got a black and white image, but you do need to use Copy Merged in the situation where you've got multiple layers in your image. You'll still use Select, All, to select it. But Copy Merged, just makes sure that you're copying the merged file. So much for bringing a rectangular image in. All bets are off as soon as we look at an image that has transparency in it, because this is not going to work. We're going to look at that in the next video. 3. Illustrator for Lunch™ - Pt 2 - Transparency from Photoshop to Illustrator: We're now going to look at the problem of trying to take transparent images from Photoshop to illustrate it. Because the process that we used earlier just doesn't work, I'm going to show you how it looks. I have a scanned image here, so it's a drawing that I scanned and cleaned up in Photoshop. What I did was I isolated the lines so that there would be transparency behind this image. I've put a white layer here just so that you can see what's going on. But regardless of whether I turn this layer off or discarded entirely, when I select this layer and choose, "Select All", and go ahead and copy and go to Illustrator and paste the image in the same way as we did the other photograph, well, it looks as if this image has pasted incorrectly; when I drag it off the edge of the art board, you can say that it's brought the white background with it. So even if the image has transparency inside Photoshop, whether or not this layer even exists in the image, illustrate is going to add some fill behind it to fill in those transparent pixels like it or not. So this is not a solution we can use. The best solution is to either save this image as a PSD file with the transparency in place. So you want to make sure that all you can see is this transparent image and you can save it as a PSD file. The other thing that you could do is you could save it as a PING file or PNG file. File, save as, and this time I'm going to save it as PING. Now, PING or PNG is a flat file format. So we're going to have just a single layer in this document, even if it had had 50 layers, it would still only have one layer in it. But PING does support transparency, and that's really important. So now I'm going to click "Save" and click "Okay". Now when I go to Illustrator, let's just get rid of the one that was a problem, let's look at how we would get this image into Illustrator, and we can do that one of a couple of ways. I'm going to show you both because they're both interesting to learn and understand. Now the first one is to use File Place. I'm going to choose File and then Place. I'm going to select my diamond PNG image. Now there's an option here for linking. So if you didn't want to embed this image in your Illustrator file, you could link it. The benefit of linking is if you later made a change to this PNG file, then when you open the Illustrator file up next time, the change is going to be reflected in that file. Now, you would probably do that for the situations like where you're bringing in a logo. In case the logo was to change, then the Illustrator files always going to have the most recent copy of the logo. For something like this, there's no need to link it, and what I'm going to do is without link turned on, effectively what I'm going to do is embed this file inside my Illustrator file. So I'm going to click Place. I'm going to drag it off the edge of the art board here because we wanted to prove to ourselves that this time we're bringing in transparency, which is what we are. This PNG image's transparency is being brought into the Illustrator document. So that's one way of doing that. The other way is to open a PSD file in Illustrator, which is clearly interesting. So let's do file and then open, and let's go to our diamond PSD file. If you will remember rightly, it's exactly the same as diamond PNG except it's a PSD or a Photoshop file. So I'm just going to click Open. Now we get Photoshop import options. So these are the options that we're going to get anytime we want to bring a Photoshop file into Illustrator. Show a Preview, lets me see a preview of what I'm bringing in. What I want to do is to convert layers to objects. I don't want to flatten layers to a single image, I don't want to import hidden layers, there aren't any, I just want my layers to be objects, and I'll click Okay. Here is an Illustrator document, which is my diamond PSD file. If I open up the last panel here, you will see that in this layer is just this image here. If I go and select that layer and pull it away, you'll see that the transparency has come with it. So once it's open inside illustrator, we could build another document around it or we can do an edit copy. Go back to our Illustrator document here, let's just get rid of this version, and choose Edit, Paste. Because it came in via opening a PSD file in Illustrator, then the transparency has been maintained. So anytime you want to bring a transparent object from Photoshop into Illustrator, you are going to have to save it. You either save it as a PSD file or save it as a PNG file with its transparency, then either choose File Place and place the file in here, or choose File Open to open the PSD file actually inside Illustrator. 4. Illustrator for Lunch™ - Pt 3 - Take a Shape from Photohop to Illustrator: Now one of the limitations that there is in Illustrator is that, there's no really easy way to save shapes in Illustrator, or Photoshop is not traditionally thought of as being a vector illustration tool. It actually has better tools for saving vector shapes then the illustrator does. Not only does it make sense to learn how to take shapes from Photoshop to Illustrator, but there's also allows you to take advantage of the plethora of free shape collections that are available for Photoshop if you know how to get them from Photoshop to Illustrator than effectively any Photoshop shaped collection can be perceived as being an Illustrator shape collection as well. I'm going to choose File and New and create just a new Photoshop document here. Let's make it 1,000 by 1,000 pixels in size. Now, I recently downloaded installed into Photoshop, a whole heap of crown shapes. They're free. I'm going to give you the download link for them because I think they're wonderful and I used them in my video class on creating glitter in Photoshop. But here are the crowns in here, I've just gone to the custom shape tool in Photoshop and I'm just going to grab one of these crown images, and I'm going to hold Shift as I draw it out into my document, and I've done it as a shape, you can do it as a shape or a path, what you can't do is do it as pixels, needs to be a shape or a path because you need to get access to the underlying path that is creating this shape. This is one of the crown shapes, is not one of the most detailed off them, but it is one of them. Now, that I've added it to my Photoshop document, I'm going through the paths palette. You can see here that it is a path, and so what I'm going to do is I'm going to select here The Path Selection Tool, and I'm going to click on my crown, I'm selecting the path that is making this crown, and that would be the same whether I had created this shape as a shape or a path, and I'm going to copy it. Edit, Copy. Now, let's swing across to Illustrator. I'm going to create a brand new document in Illustrator same sizes before 1,000 by 1,000 pixels in size. But since we're talking vectors, it really doesn't matter how big it is, and I'm going to choose Edit and then Paste. Now, I get two choices, Paste as a compound shape, making it fully editable, or a compound path which is faster. Well, we don't need to be really super fast, let's give us a fully editable compound shape and I'll just click "Okay." Here is the path that we had in Photoshop created as a path inside an Illustrator file. Now, the biggest problem you're going to have here is you going to go and deselect it and you're going to be sitting here going well, that was good, but it's all disappeared. It hasn't actually disappeared, it's just given no stroke and no fill when you bring it into Illustrator. In the last pallet, you'll see that you still have your crown path here. You just need to select it and fill it with something. I'm just going to fill it with a color here so that you can see that this in Illustrator is an editable path. When we go to the direct selection tool, we've got all those little points, all these nodes that we're used to seeing inside Illustrator, and they're all fully editable in exactly the same way as any Illustrator path is editable. That's a way of getting access to the wealth of shapes that are available for Photoshop. But take them very quickly and easily to Illustrator, where you're working in a vector environment, and you can actually do something with them. 5. Illustrator for Lunch™ - Pt 4 - Export Shapes as an Illustrator File: In the previous video, we saw how we could take a shape from Photoshop to Illustrator, which was fine if you only want to take one shape at the time. But what if you want to take a lot of shapes? What if you want a more permanent solution than just doing a copy and paste every time? Because one of the benefits of Photoshop is that you have this enormous ability to store shapes in Photoshop and they're immediately accessible to you. There's nothing like this in Illustrator. If I wanted to take all these crowns, for example, from Photoshop to Illustrator, I would need to copy and paste every one of them individually unless I used this process. What I've gone and done is I've created five layers, each with a different crown on that layer. I'm going to do a sixth one where we're going to illustrate this. I'm clicking on the customer shape tool. I'm opening up my shapes panel. I'm going and getting one of the crowns that I haven't previously used. I'm clicking away and I'm going to shift click to drag this crown out in its original proportions. Now, I have six layers in this Photoshop image, every one of which has a shape on it, and the shapes just all happened to big crowns. What I'm going to do is I'm going to make all these crowns visible, which is going to just be a big black mass here. I'm going to click the topmost layer and shift click on the bottom-most layer so that all of these layers are selected. Now, I'm going to choose file and then export, and I'm going to choose paths to illustrate. From the paths drop-down list here, I'm going to select all paths, which effectively is selecting all six of these paths and saying to Photoshop, I want you to export these paths in an Illustrator file. I'm just going to click "Okay". Then I'm going to call this crowns. You can see it's going to be an Adobe Illustrator file, is created by Photoshop in the Illustrator format. I'm just going to click "Save". Now, let's go to Illustrator. I,m going to close this one down because I don't need it any longer. We're going to open the Illustrator file we just created, "File", "Open". Here is crowns AI that I just created and I'll click "Open". I'm going to select legacy art board and crop areas and just click "Okay". Again, we have the same situation inside an Illustrator file in that there's a lot going on here, but we're not just seeing exactly what that is. While we're just going through the layers palette, I'm going to open up the layers palette. Each of the paths that I bought from Photoshop is an object in a single layer inside Illustrator. I'm just going to click on one of these objects. I have the fill selected here now. There aren't any colors in the swatches panel because no colors came with the Photoshop file. So I'm going to need to double-click on the fill here and just select a color to use. Let's go get a green color, and there's one of these objects and I can turn it off. I can go and select the next object and fill it with a different color. This would be a handy way of getting access to shapes that you downloaded for Photoshop, putting them in an Illustrator file where they're immediately accessible to you and you can do with them whatever you want to do with them, because they just illustrate a paths now. 6. Illustrator for Lunch™ - Pt 5 - Pattern Swatches from Photoshop to Illustrator: The final technique that by going and look at for taking things from Photoshop to Illustrator it is how to take patterns swatches. So I'm going to start by creating a brand new file and it does not matter how big this file is because we're going to trash it without doing anything with it. I'll just create a file. You need to create a file because you need to get access to a dialogue which you can't see unless you've got a file open. I'm going to choose Edit and then Fill. From the contents drop-down list, I'm going to choose Pattern, and then I'm going to identify in my pattern collection in Photoshop the pattern swatch there I want to take to Illustrator. When I hover over it, I get a little tool tip and it will tell me the size of the file. The size of this one is 668 by 668 pixels. Now, your pattern paste could be really big, it could be really small. It doesn't matter. You just need to know how many pixels it is and write that down. I'm going to cancel out of here and I'm going to close this file. Now I'm going to create a brand new file that is the exact size of that patent pace that I read off out of that fill dialog. I'm going to make this 668 by 668 because that's the pattern piece that I'm going to be using. I'll click "Okay." Now I'm going to choose Edit and Fill, and I'm going to go and select the pattern paste a 668 by 668 pixels in size and just click "Okay." I've filled this document with that pattern, and this is exactly the size of the pattern pace. Now, you probably know exactly what's going to happen next. We're just going to choose Select, All and Edit, Copy. Then we're going to Illustrator and we're going to create a brand new file. It doesn't matter how big it is and we're going to choose Edit and then Paste. This is a Photoshop pattern swatch open in Illustrator. What I can do is I can open up the swatches panel here and drag and drop this pattern into the swatches panel. Since it's now a pattern swatch in Illustrator, I don't actually need it, so I'm going to just drag out a rectangle here. I have the fill in the foreground here. I'm going to fill it with my pattern. If I need to resize it, then I can choose Object, Transform, Scale, and I want to transform the pattern, not the object. So transform patterns set on. Transform objects is turned off. Let's make it 50 percent of its original size, and we'll just click "Okay." So we're able to use Photoshop patterns swatches in Illustrator. Of course, you're going to have the exact same problem with pattern swatches if they have transparency in them as you had with images that have got transparency. Let's quickly go back to Photoshop and have a look at a pattern swatch that has some transparency in it. We'll choose Edit, Fill, and look in my pattern swatches now, this pattern object here, this patterns swatch is 847 by 988 and it has some transparency. I'm creating a document, the size of the patents swatch. I'll choose Edit, Fill. I'm going to select the pattern swatch, and I'll click "Okay." It's filling that document perfectly. But we know that if we try and copy and paste this into Illustrator, it's going to be filled in in the transparent areas and we may not want that to be the case. If we don't want it to be the case and we're going to need to save this, I'm going to save this as a PNG file. When I'm saving a PNG file, I'm just going to select the default options, which for me are smallest, slow and no interlacing. I'll click "Okay." Now I'm going to Illustrator, I'm just going to discard this image here, and let's go and place the pattern swatch. So I'm going to choose File and then Place. I'm going to go and get my trellis pattern. I'm not linking, I'm actually going to place it in this file. I'm just going to drag out my trellis holding shift as I do to make sure that it is being sized in proportion. Now, we can't see the white bits around the edge because the art board itself is white, but you can say that it's bringing white with it. Now that I've got it inside Illustrator and I've got it transparent, I'm just going to drag and drop it into the swatches panel, and I can delete it because I don't need it any longer. Let's go and create a rectangle and let's now fill it with our pattern swatch now. These white areas are really not white. They're transparent. So what I can do as I could do with any pattern filled shape in Illustrator is open up the appearance panel. I have the shapes selected here is our fill. What I'm going to do is add a second fill and the fill that is at the very back, I'm going to add a color to it. So I'm going to put a second color in behind the first one and that's going to give me this alternating color pattern, the transparency and the pattern can be harnessed to create a whole series of different looks for our pattern because the pattern itself is transparent. Now, there is a gotcha with patterns here in Illustrated. I'm just going to select the path, I'm going to select the shape, and I'm going to click here on recolor artwork. Because they only color that we have access to in this artwork is the yellow color, the fill color, we don't have access to any of these pattern colors. So a lot of the things that you'll be used to doing with patterns, swatches in Illustrator, in times of re-coloring them, is just not going to be available to you if you're working with bitmap patterns that you've bought from Photoshop. If you want this patent to be a different color, then make it a different color before you get it out of Photoshop. So you're going want to edit it here in Photoshop, save it as your PNG file or your PST file, and then bring it into Illustrator the way you want it to look, because you just don't have access to the same tools as you would have had, had this Moroccan Trellis pattern being designed as vector objects in Illustrator. So just be aware of that. For this reason also, anytime you want to bring in a bitmap image into Illustrator, your want to do all the editing to that bitmap in Photoshop first because you just don't have the tools for editing color and stuff like that that you might be used to with vector objects for bitmap images. Of course, the situation will be totally different, if you actually want to create a vector object using image trace from your bitmap images, then you'd be able to have access to all your color options because you'd be converting a bitmap into a vector object. Once it's a vector, it's traded a whole lot differently by Illustrator. So I hope that that's helped you see some of the potential that you have for working between Photoshop and Illustrator with bitmap images, with pattern swatches, and the wonderful opportunities that are available to you with shapes and pass. Your project for this class is really, really simple. Just right in the project area. Which one of these techniques really spoke to you? Which one do you think you're going to use. If you'd like to experiment with it and have a go at doing a project based on that, do so. Now I'm really interested in what speaking to you because that information can help me look forward for the classes that I'm going to develop over time so that they can be more meaningful to you. Now as you are switching these videos, you will have seen a prompt which lets you recommend this class to others. Please, if you're enjoying the class, do two things for me. Firstly, give it a thumbs up, and secondly, write just a few words about why you're enjoying this class. These kind of recommendations are helpful for other students. It helps them to say that this is a class that they too might enjoy taking. Now, for my point of view, if you want to leave me a comment or a question, please do so. I read and respond to all of your comments and I look at and respond to all of your class projects. My name is Helen Bradley. Thank you so much for joining me for this episode of Illustrator for Launch, working with Photoshop objects in Illustrator. I'll look forward to seeing you in an upcoming episode of Illustrator for launch soon.