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Photoshop Smart Objects explores the creation and use of Smart Objects, one of the most technically demanding tools in Photoshop. Deke McClelland walks through the four primary purposes of Smart Objects, and focuses on one of their most practical advantages, non-destructive transformations. This feature allows any object to be manipulated in any way, while still maintaining its original pixel information. Finally, Deke shows how to crop compositions without affecting a single pixel, even in masks. Exercise files accompany this course.
Download Deke's customized keyboard layouts and color settings for Photoshop from the Exercise Files tab.
I am still working inside Excellent textures.psd found inside the 06_filter_masks folder. The only thing I have done is to turn off the Clone layer, just so as you know and I went ahead and clicked on the photograph layer, so that we can modify it. Now, let's go ahead and apply a Filter Gallery filter and see the first big advantage associated with Filter Gallery filters, which is that you can switch them out. You can change your mind. You can select your filter, switch it for a different filter, which is not something you can do normally. For example, if I don't like the Mezzotint filter right here, there is no way for me to select it and replace it with a different filter or like right-click on it and choose from a filter list or choose switch for some other filter or anything like that.
So, if I thought better of Mezzotint and I wanted it to replace it with something else, I would have to turn off Mezzotint or throw it away and then go up to the Filter menu and apply a different filter. Whereas, when you are working inside the Filter Gallery, you can swap things out as much as you want. So, I am going to go up to the Filter menu. Now you can choose Filter Gallery, but then you are going to have to click on that little page icon to make a new filter and I will show you that in just a minute, but it takes an extra step to get the filters going or you could just choose one of these commands that I have highlighted in yellow again, here on screen.
So, this is the thing you should know if nothing else, the very first submenu, every single one of the commands brings up the Filter Gallery. So, if you ever just want to bring up the Filter Gallery, have a filter setting there ready to go and start poking around, then just choose a random command from the Artistic submenu. So, I will choose Neon Glow, which is about the ugliest one there is, but I will go ahead and choose it anyway and now, I am going to go ahead and zoom out by pressing Ctrl+Minus or Command+ Minus a couple of times. Wow dude! It's black light. That's because their Glow Color is very oddly set to blue by default.
So you could click on it to bring up the Color Picker and you could switch it out with something that makes sense, like I don't know, yellow and we could go with that default outer glow color, which is 60 for Hue, 25 for Saturation and 100% for black. That's how outer glow and inner glow for that matter are set by default. Then click OK and you will get this kind of glow effect there, which is interesting, I guess, if you are out of your mind, but you might find a use for it, I am not sure. That goes for all of the filters. They are all big maybes frankly, but some of them are better than others, some of them make me awfully happy.
Now, the tie that binds. In case you are wondering, well, why are these filters part of the Filter Gallery? They were all filters that were purchased, a big purchase by Adobe when Adobe purchased Silicon Graphics. They got these filters here and they were part of this package called Gallery Effects back in the old days. There was no Filter Gallery back then, but for some reason they were called Gallery Effects, like they were going to be things that you could hang in a gallery. They would kind of marketed as filters that turned any photograph into a work of art, that kind of thing.
Now, they exist here. They are all exclusively compatible with RGB. I should tell you that. They don't work in CMYK, they don't work in LAB, you should just know. You should also know, in case you hear me being sort of curmudgeonly against them every once and while, when they first came out I gave them a two star review in Macworld magazine. Rather deservedly so, in my opinion to this day. There were some astounding filters at that time and these are the ones that we ended up getting here, but even though they are a ragtag collection, they are free, they come with Photoshop so I would give them a much higher rating these days. You don't have to purchase them and some of them are actually really cool and we are going to build a nifty effect out of them.
So, I am going to twirl open Texture here and as I say these are all the filters that exist inside the Artistic submenu, these are all the filters that exist inside the Brush Strokes submenu, these are all the ones in the Distort submenu, all three of them. This is the one from the Stylize submenu. Bleh! What a bad one! Anyway, you also have the option, incidentally, of clicking this double-up arrow icon which will hide all those little previews, because you are going to access every single one of these filters from this big list here, all 47 of them, as I say.
I have counted them. Then you have got your settings that you can adjust right here and then you have got your little filter list which is showing you Neon Glow. Neon Glow is currently active. You can turn it off if you want to view the image before we applied the filter and then turn it on to view the image after you have applied the filter and if you want to add more filters to your list, you come down here to this little page icon and click to make a new effect layer. Supposedly these are layers, whatever. Anyway, I am going to bring back up my list of filters here and I am going to click on Patchwork.
Patchwork I love, check that out. These cool mosaics it creates and I am going to go ahead and zoom in on this face right there and then I am going to increase the Square Size to something like 8 pixels across, like so and you can also adjust the Relief if you want. So, the good news is some of the filters are really great and we are going to, obviously, have our own subjective preferences by the way, you and me, and you are going to have this great preview over here on the left-hand side. It is absolutely accurate and you can add more filters if you want to and you can switch out the filters.
So notice just by clicking any different filter that comes with the little thumbnail preview, which is awfully useful. I wish all the filters had that. Then you can switch one filter out for another, right here in the list and then once you have got the filter you want applied, which will have a decent effect, you click OK in order to apply it to the image and it's going to be integrated with everything else that's going on. So in other words, this Patchwork filter is modified by the filter mask, just like all the other filters here, Mezzotint and Variations which are turned on, and if you want to you can change your Blending settings by double-clicking on the little slider icon right there and that will bring up your Blending Options for Patchwork in our case because we have just applied the Patchwork filter and you can change your blend mode and Opacity settings if you want to.
I don't. I am pretty happy with this. So I will just cancel out and that is the first of a handful of Filter Gallery effects that we are going to be applying in the next couple of exercises.
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