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Applying a Smart Filter to live type

From: Photoshop CS4 One-on-One: Mastery

Video: Applying a Smart Filter to live type

In this exercise, I'm going to show you one of the most exciting things that you can do with Smart Filters in my estimation anyway, which is to filter live editable text. Now I'm still working inside this composition called Effects unite.psd, which features a veritable justice league of parametric effects all working together in Kung Fu action. And I have only made one change, which is to link the Smart Object to its layer mask in order to get rid of that wonky drop shadow behavior so that everything is the way it should be inside of this composition.

Applying a Smart Filter to live type

In this exercise, I'm going to show you one of the most exciting things that you can do with Smart Filters in my estimation anyway, which is to filter live editable text. Now I'm still working inside this composition called Effects unite.psd, which features a veritable justice league of parametric effects all working together in Kung Fu action. And I have only made one change, which is to link the Smart Object to its layer mask in order to get rid of that wonky drop shadow behavior so that everything is the way it should be inside of this composition.

All right, I would have you, go ahead and turn on this KILL, JILL layer which you will see is a layer of editable type as indicated by this big T thumbnail and the text is set in the font Impact which is common on both the Mac and the PC, so you should have no problem with this text, hopefully knock on wood. What I want to do is demonstrate to you how we can apply a filter to this live editable text. Now I have shown you ways in the past to create blur effects using an Outer Glow effect or a Drop Shadow effect, something along those lines and then you change the Fill Opacity of the layer to 0%, so that you can't see the text anymore and you can only see the blurry effect and that's it, which is great for standard everyday blurs. But what if you want to apply a more ambitious effect? Like for example, in my case, I want to apply a Motion Blur so that we have text that looks like it's being transported into the poster, something along those lines.

So it's radiating sort of this energy up and down from the letters and that's something that you can't achieve using a standard layer effects. You have to resort to filters and that's what we are going to do. So go ahead and click on this KILL, JILL layer and if you go up to the Filter menu at this point and choose Blur and then choose Motion Blur. Then Photoshop is going to say hey this type layer must be rasterized before proceeding. Its text will no longer be editable. Rasterize the type? No, we don't want to do that at all. We want to keep the text editable, so we are going to Cancel out of here and instead, we are going to go ahead and convert the text to a Smart Object.

So we are going to put it inside of a Smart Object container. So go up to the Layers palette fly-out menu and choose Convert to Smart Object and then you have a Smart Object built around this editable text. So you still have access to the text, as we'll see. Now let's go ahead and apply the filter. I will go up to the Filter menu, once again choose Blur, once again choose Motion Blur. I want a really high impact effect, so I'm going to change the Angle to 90 degrees and then I'll change the Distance to 200 like so and we are just going to wipe out those letters. That's fine because we can follow this up with some blending options. Go ahead and click OK.

Then you will see Motion Blur assigned to our Smart Object. I don't want this big old filter mask taking up this room inside the Layers palette. So I'm going to right-click on it and choose Delete Filter Mask and I would recommend you do that, any old time you like, because you can always reinstate a filer mask later if you want to. All right anyway, there is Motion Blur, I'm going to go ahead and double-click on its slider icon to bring up the blending options and I'm going to change the mode from Normal to Linear Dodge (Add) in order to create this hot effect right here, so that I can see both the Motion Blur and the underlying layers as well.

So the text is still nice and legible. All right, now I'll click OK and at this point let's see how we might go about editing the text. Let's say we don't want it to be Kill Jill, we want it to be Kill Phil. So I'll go ahead and double- click on the thumbnail that's associated with the KILL, JILL layer here and then that will take me into the Smart Object and you can see that we have access now to our editable text. I'll go ahead and press the T key to switch to the Type tool and I'll double-click on the word Jill and I'll type in Phil instead and Impact only has capital letters, so I can just go ahead and enter a lowercase Phil if I want to and I'll press the Enter key on the keypad in order to accept that modification.

Now notice that Kill and Phil are not in lined with each other. That was because notice before, when we had Kill on top of Jill, I had to indent that K a little bit in order to line it up with the J. If I click in front of the K there, that's the function of having added little bit of kerning actually. So I'll bring up my Character palette right there and I'll change that AV value which is the Kerning value to 0, like so and now if I go ahead and edit this text, by double-clicking on Jill and changing it to Phil, I'll get the K and P line up better and that looks good.

Okay, then I'll press the Enter key on the keypad in order to accept my modifications. Now there is the obvious problem where Phil is getting cut off and that will actually cut off the text in the larger composition as well. So the text would appear cropped which is not something we want. So go up to the Image menu and choose Reveal All, now that's all better and now let's go ahead and close this image, by clicking on its Close box. Do you want to save changes? Yes, you do or click the Save button on the Mac and you will return to your larger composition and you will now see Kill Phil, great! If you wanted it to be that way, I have no desire for this movie to be called Kill Phil, it's Kill Jill, darn it. So I'm going to press Ctrl+Z or Command+Z on the Mac to undo that modification. I just want you to see that it is possible to keep your text nice and live and editable even though you are applying filters to it, contrary to that error message that Photoshop gave you.

Thanks to a combination of Smart Objects and Smart Filters. In the next exercise, we are going to further modify our text so that it has a sort of engraving inside of it, you will see using some more filters.

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This video is part of

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

147 video lessons · 27846 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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