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Adding a vector object to a composition

From: Photoshop CS4 One-on-One: Mastery

Video: Adding a vector object to a composition

All right gang, I've got two images open this time. One is called Masked heart.psd, and this represents my progress so far. I've gone ahead and assigned the path outline as a vector mask to this photographic image element right here and I actually changed the name of this layer to photo heart for that's worth. Then we also have opened up Good tip circle.psd, which is the good version of the tip circle image. Also it's a larger size than the very first one we were working on. Both of these images, by the way, are found inside the 24_vector_shapes folder. So here's what I'm going to do.

Adding a vector object to a composition

All right gang, I've got two images open this time. One is called Masked heart.psd, and this represents my progress so far. I've gone ahead and assigned the path outline as a vector mask to this photographic image element right here and I actually changed the name of this layer to photo heart for that's worth. Then we also have opened up Good tip circle.psd, which is the good version of the tip circle image. Also it's a larger size than the very first one we were working on. Both of these images, by the way, are found inside the 24_vector_shapes folder. So here's what I'm going to do.

Go back to Masked heart.psd, make sure that heart, that image that is, and vector mask are linked together. And they are, there is a little chain icon right there. You can turn it off if you want to move one independently of the other. But we want to keep them together. So I'll turn that back on. Because, I want to be able to drag and drop the heart along with its vector mask into the Good tip circle.psd composition. When one of the Selection tools is active or just about any of the other tools are active, you can get the Move tool on the fly by pressing and holding the Ctrl key or the Command key on the Mac. Then you can drag that heart around, like so. However, if you have one of these tools selected, for example if I have the Pen tool active, and I press and hold the Ctrl key or the Command key on the Mac, I'm going to get the Arrow tool, which ain't going to do me any good.

That's for selecting path outlines, obviously. Even if I have the Arrow tool selected, like I've got the Black Arrow tool selected let's say and I press and hold on the Ctrl key or the Command key on the Mac, then I just get the other variant of the Arrow tool in this case. Let's see what happens, if I have the Direct Selection tool selected and I press and hold the Ctrl key or the Command key on the Mac, I switch back to the Black Arrow tool, switch back to Marquee tool, since it's our nice default tool. Then we would go ahead and Ctrl+Drag or Command+Drag both path outline and image layer, and I'll drag up to the Title tab for Good tip circle.psd.

Then I'll drag back down once Photoshop switches over to this image. I'll drop the heart into place, seems to have appeared in front of the circle layer, in my case. Fine, but that also means that it's getting clipped by the circle layer. I don't want that. So I'm going to Alt- click or Option-click on that horizontal line and then I'll Alt-click or Option- click on this horizontal line so that I'm clipping the spirals inside of the photo heart, like so. I'm going to turn off spikes. I'm going to turn off Tip. I don't need those guys. I might go ahead and Ctrl+Drag or Command+Drag my heart up just a little bit, like so.

I am going to turn off the circle layer, but I really like the effects that are associated with circles. Why don't we go ahead and grab those effects right there and drop them on photo heart. So I just dragged the fx icon and dropped on photo heart. And now, I'll turn off the circle layer, because I don't want it anymore. Now everything is turning way too sort of orange for me, because the composition was originally set to sort of a yellowish, orangish flavor. We want it to be gold. But I want this heart to be nice and red, so we're going to have to make some alterations. First though, I'm going to turn off the layer mask that's associated with the spikes.

I like the spikes, but I don't want this circle of a layer mask there. So I'm going to Shift-click on the layer mask in order to turn it off. You could also Shift-click on the vector mask to turn it off. If you want that effect right there, that's like the heart fell into puddle. Huh! Interesting! What does it look like if I turn off that? Actually, I'll go ahead and Shift-click to turn those spikes back on. That's kind of nifty too, because it means that the heart has issues. It's thorny; it doesn't want anybody to get near to it. Anyway, we've got the spikes turned on; we've got the circle turned off right there. That's just the function of Shift-clicking on these thumbnails.

Let's take a look at our individual layer effects right there. I'm going to go ahead and double-click on Drop Shadow. I'm going to change the color of that Drop Shadow from -- it's almost a greenish color right now, but it's yellow. I'm going to click on it and I'm going to change it to red as easily as just changing that Hue value. It's a very quick and easy way to switch colors out. Click OK, then I'd switch to Inner Shadow, click there. Click inside Hue, like so, change it to 0, click OK. Go to Bevel and Emboss. I think you're getting the idea of what I'm doing here. Click on anything that's not the color I want it to be. Change it to 0. Click OK. White's fine, I'll leave that alone.

Color Overlay, I don't even think, we want a Color Overlay. Let's just go ahead and turn that guy off. Then Gradient Overlay is currently sort of a bronzing agent right here. Let's go ahead and click inside of that Gradient bar, then double-click on that Color Stop. Then change that value to 0, what a surprise! I knew you weren't expecting that. Click OK. Leave white. That's fine. Click OK. Click OK, because we're done. We have changed all the colors and now we have this effect here. I'm going to Ctrl+Drag it up a little bit so that it's better aligned with the spikes, like so. I think this will work nicely, except for you know what? The spirals getting out of alignment. So let's go ahead and Ctrl+Z, Command+Z to undo that. Select both of those layers, like so. Then we'll Ctrl+Drag or Command+Drag it up into let's say this position. That looks pretty nice.

Now if you want more spikes, obviously, you can get them. You just click on the path outline for that spikes layer right there. And you can tell it's the spikes layer, because it had to make it wider so you can see that its spikes. I drag this over little bit there, i.e. scroll the window over. Then I'll switch over to my Direct Selection tool, White Arrow tool. Click on this point right there. Drag it to a different location. So you have all kinds of flexibility available to you here. You could even drag it outside of the canvas if you want to. You could expand the canvas, and then you could scale the whole darn thing.

All right, let's turn off the spikes. I'll press the F key a couple of times to tab away all the extra chunk. That's the final version of vector illustration created inside of Photoshop replete with layer effects, thanks to the power of vector-based path outlines and vector- based shape layers, here inside Photoshop CS4.

Show transcript

This video is part of

Image for Photoshop CS4 One-on-One: Mastery
Photoshop CS4 One-on-One: Mastery

147 video lessons · 27709 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 21m 17s
    1. Welcome
      1m 21s
    2. Installing the DekeKeys keyboard shortcuts
      5m 38s
    3. Resetting the Function keys on a Mac
      3m 51s
    4. Installing the CS4 color settings
      4m 34s
    5. Setting up the CS4 color settings
      5m 53s
  2. 2h 31m
    1. Introduction to masking
      51s
    2. Introducing color range
      4m 22s
    3. Adding base colors and adjusting fuzziness
      4m 46s
    4. Localized color clusters
      6m 12s
    5. The Quick Mask mode
      7m 33s
    6. Viewing a quick mask by itself
      6m 40s
    7. Testing the quality of edges
      3m 55s
    8. Introducing the Masks palette
      7m 45s
    9. Editing a layer mask
      6m 18s
    10. Choking a mask with Gaussian Blur and Levels
      6m 44s
    11. Choking a mask with Mask Edge
      7m 43s
    12. Adding a Gradient Overlay shadow
      4m 23s
    13. Using live Density and Feather
      6m 12s
    14. Journeyman masking
      5m 44s
    15. Creating an alpha channel
      7m 6s
    16. Increasing contrast
      7m 15s
    17. Overlay painting
      8m 28s
    18. Cleaning up whites and blacks
      5m 48s
    19. Soft light painting
      5m 47s
    20. Selecting in style
      6m 55s
    21. Employing masks as selections
      5m 2s
    22. Scaling and compositing layers
      6m 30s
    23. Compositing glass
      5m 10s
    24. Selecting glass highlights
      8m 41s
    25. Working with found masks
      5m 46s
  3. 1h 34m
    1. Introduction to vector-based shapes
      1m 10s
    2. Vector-based type outlines
      7m 23s
    3. The benefits of vectors
      6m 27s
    4. Upsampling vs. nondestructive scaling
      7m 35s
    5. Vectors and effects
      8m 7s
    6. Fill Opacity and clipped layers
      4m 24s
    7. Basic shape creation
      3m 15s
    8. Drawing interacting shapes
      6m 21s
    9. Power-duplicating paths
      3m 12s
    10. Combining pixels and vector masks
      5m 19s
    11. Line tool and layer attributes
      7m 5s
    12. Copying and pasting path outlines
      3m 28s
    13. Drawing custom shapes
      3m 59s
    14. Drawing with the Pen tool
      7m 48s
    15. Creating cusp points
      7m 28s
    16. Defining a custom shape
      3m 34s
    17. Assigning a vector mask to an image
      2m 38s
    18. Adding a vector object to a composition
      5m 40s
  4. 1h 23m
    1. Introduction to Vanishing Point
      1m 11s
    2. Creating and saving the first plane
      8m 9s
    3. Creating perpendicular planes
      5m 16s
    4. Healing in perspective
      8m 47s
    5. Cloning and scaling in perspective
      8m 33s
    6. Patching an irregularly shaped area
      6m 59s
    7. Healing between planes
      3m 34s
    8. Importing an image into a 3D scene
      5m 45s
    9. Adding perspective type
      5m 37s
    10. Removing and matching perspective
      5m 36s
    11. Applying a reflection in perspective
      5m 1s
    12. Creating a perspective gradient
      6m 11s
    13. Converting a gradient to a mask
      2m 58s
    14. Swinging planes to custom angles
      4m 32s
    15. Wrapping art around multiple surfaces
      5m 49s
  5. 1h 15m
    1. Introduction to Smart Objects
      58s
    2. Placing a Smart Object
      5m 7s
    3. Saving a PDF-compatible AI file
      4m 27s
    4. Performing nondestructive transformations
      6m 7s
    5. Editing a Smart Object in Illustrator
      6m 50s
    6. Converting an image to a Smart Object
      6m 50s
    7. Cloning Smart Objects
      5m 24s
    8. Creating a multilayer Smart Object
      5m 51s
    9. Updating multiple instances at once
      2m 54s
    10. Creating a Camera Raw Smart Object
      4m 17s
    11. Editing a Camera Raw Smart Object
      3m 25s
    12. Assembling a layered ACR composition
      5m 54s
    13. Using an ACR Smart Object to effect
      3m 41s
    14. Blending multiple ACR portraits
      6m 56s
    15. Live type that inverts everything behind it
      6m 32s
  6. 1h 48m
    1. Introducing nondestructive Smart Filters
      46s
    2. Applying a Smart Filter
      4m 22s
    3. Adjusting filter and blend settings
      4m 25s
    4. Heaping on the Smart Filters
      5m 19s
    5. Smart Filter stacking order
      7m 23s
    6. Resolution and Smart Filter radius
      6m 12s
    7. Masking Smart Filters
      4m 41s
    8. Employing nested Smart Objects
      5m 5s
    9. Dragging and dropping Smart Filters
      6m 31s
    10. Using the Shadows/Highlights filter
      5m 53s
    11. Regaining access to the pixels
      7m 8s
    12. Parametric wonderland
      5m 52s
    13. Working with the Filter Gallery
      6m 28s
    14. Freeform filter jam
      5m 51s
    15. Swapping filters from the Filter Gallery
      3m 45s
    16. Mixing all varieties of parametric effects
      7m 30s
    17. Addressing a few Smart Filter bugs
      3m 11s
    18. Applying a Smart Filter to live type
      5m 30s
    19. Choking letters with Maximum
      3m 7s
    20. Duplicating a Smart Filter
      2m 38s
    21. Enhancing a filter with a layer effect
      6m 30s
  7. 1h 6m
    1. Introduction to Auto-Align, Auto-Blend, and Photomerge
      1m 2s
    2. Merging two shots into one
      3m 49s
    3. Applying Auto-Align layers
      3m 44s
    4. Masking images into a common scene
      1m 38s
    5. Auto-Align plus Auto-Blend
      8m 11s
    6. Assigning weighted Opacity values
      4m 7s
    7. Employing a Difference mask
      7m 17s
    8. Masking smarter, not harder
      3m 53s
    9. Capturing multiple depths of field
      3m 37s
    10. Auto-blending real focus
      8m 31s
    11. Creating a panorama with Photomerge
      7m 27s
    12. Correcting a seamless panorama
      4m 52s
    13. An altogether nondestructive Lab correction
      7m 59s
  8. 1h 44m
    1. Introduction to new CS4 technologies
      1m 1s
    2. Applying Content-Aware Scale
      7m 18s
    3. What works and what doesn't with Content-Aware Scale
      4m 19s
    4. Protecting areas with masks
      7m 31s
    5. Applying incremental edits
      7m 6s
    6. Protecting skin tones
      7m 12s
    7. Scaling around a model with TLC
      9m 0s
    8. Adjusting the scale threshold
      5m 22s
    9. When Content-Aware Scale fails
      4m 2s
    10. Creating a lens distortion effect
      8m 39s
    11. Layer masking the family
      11m 44s
    12. Installing the Pixel Bender
      3m 42s
    13. Introducing Pixel Bender kernels
      6m 50s
    14. Pixel Bender kernel roundup
      7m 24s
    15. Tube View and Ripple Blocks
      3m 58s
    16. Making a seamless pattern with Kaleidoscope
      6m 13s
    17. Introducing the Pixel Bender Toolkit
      3m 24s
  9. 1h 20m
    1. Introduction to actions
      42s
    2. Creating an action
      5m 45s
    3. Recording operations
      5m 12s
    4. Reviewing and editing an action
      4m 45s
    5. Playing an action (the Button Mode)
      4m 50s
    6. Saving and loading actions
      5m 0s
    7. Copying and modifying an action
      4m 8s
    8. Permitting the user to change settings
      5m 50s
    9. The Best Chrome Effect Ever II
      3m 41s
    10. Recording a fail-safe action
      7m 33s
    11. Rounding corners with a mask
      4m 33s
    12. Cleaning up layers
      3m 51s
    13. Automating layer effects
      7m 1s
    14. Applying chrome with Gradient Map
      6m 24s
    15. Action anomalies
      4m 11s
    16. Rendering effects to layers
      5m 1s
    17. Testing that it works
      2m 0s
  10. 1m 14s
    1. See ya
      1m 14s

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