Illustrator "Live Trace"

condra

Hi guys.

I'm just wondering what approach you would usually take to live tracing an intricate sketch.

I've been experimenting with Live Trace, and sometimes I'm getting better results by "prepping" an image in photoshop first. I'm not just talking about messing with levels and contrast, but actually using different layers in photoshop to create a smooth outlined image, before even going near illustrator.

The layered photoshop doc is then flattened before I place it in Illustrator.

I would like to be able to bring in the layers to illustrator separately, but when I do that, I end up with annoying "bounding box" problems. I've tried this with a transparent ping, and still end up with an annoying bounding box which is difficult to remove in illustrator.

5uspect

Can't you just copy paste directly into Illustrator from PS?

I'm not sure what you mean about a bounding box.
Got any examples?

condra

Hi and thanks for the reply.

Yeah I'm not having trouble with going between Photoshop and Illustrator, was more curious about how people might prep an image in Photoshop before bringing it into Illustrator.

I've experimented with different source images, such as photos, sketches etc. Pencil sketches with shading are proving the most difficult.

This is an example of the type of image that is proving difficult for me. (This is currently a job for a client)



Manual tracing is not an option for me. It would be much too time consuming.

I've tackled it using different methods, as you can see here:



The first, is the best detailed approximation I could get from Illustrator using Live Trace on the sample image.

The second, I created 3 layers in Photoshop first, (one for the outline, one for the shield detail, and one for the serpent)
.....then traced them seperatly in Illustrator. But I wasn't able to get the middle layer working properly because of the "bounding box" problem, which I will outline in a minute.

The third "prepped" was achieved by layering the sample up in photoshop like before, and then adjusting different settings on different layers, to get a high-contrast finish, which was then Live Traced in Illustrator.

____________________________

Now, about the "bounding box" problem.



In this image, the serpent is on the top layer. I wanted to create a layer below, but the serpent was left with a white outline in the shape of the usual bounding box. I've added some points here and brought it closer in, but as you can see in the top right corner, if I try to delete some of the points, it cuts right across the image.
Adding more points and adjusting them to flow along the outside of the serpent would be tricky and time consuming.

condra

I've been playing around a bit more, and I' starting to get better results with the "photo high fidelity" setting, though it is almost too complex and photorealistic for my needs.

I'll get there. I'll just keep tweaking.

p

You probably just need to trace in Illustrator, or else use the semi-auto and then tweak it. You'll never get it perfect.

There's also this website, which has a really good live trace type feature. It's commercial though, but you can preview the results before paying. http://vectormagic.com/home

5uspect

Why not just change the blend mode of the serpent layer to remove the whites.
Multiply should do it.

Either that or expand the trace and delete all the while objects.
Click on a while path with the direct selection tool.
Use Select>Same>Fill Colour to highlight all other white objects (all other layers being locked) and hit delete.


I have to agree with p tho regarding Live Trace. It's a useful tool but it's never going to be perfect, especially with such complex shading.

Perhaps get yourself a graphics tablet and draw it up in Illustrator yourself with the paintbrush tool.

condra

Hi again.

I got it almost perfect by messing with a few options.



I think the "designer in me" might actually be stifling my progress on this one. I think in terms of stylish logos and vector illustrations but I can't expect Illustrator to come up with a perfect stylised version.

The client seems most happy with this "photorealistic" one. Perhaps he isn't using it for a logo or illustration at all. I'm guessing he wants to print it or archive it.