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The third part of the popular and comprehensive series Photoshop CS6 One-on-One follows industry pro Deke McClelland as he plunges into the inner workings of Adobe Photoshop. He shows how to adjust your color, interface, and performance settings to get the best out of your images and the most out of Photoshop, and explores the power of Smart Objects, Shadows/Highlights, and Curves for making subtle, nondestructive adjustments. The course dives into Camera Raw to experiment with the editing toolset there, and returns to Photoshop to discuss toning, blur, and blend modes. Deke also teaches tried-and-true methods for sharpening details and reducing noise, as well as creating quick and accurate selections with Quick Mask, Color Range, and Refine Edge commands.
In this movie I'll show you yet another way to bring artwork into Photoshop as a Smart Object, but this specific method works only with vector-based artwork created inside of Illustrator and it's really as simple as copying from one program and pasting into the other, but you have a handful of options when pasting the artwork. So here I am working inside of Illustrator and I've got open the Tiger tattoo.ai file, I'm going to go up to the Select menu and choose the All command or you can press Ctrl+A or Cmd+A on the Mac and then go up to the Edit menu and choose the Copy command or press Ctrl+C here on a PC or Cmd+C on the Mac.
Then I'll switch over to Photoshop which is running in the background here and I'll go up to the Edit menu and choose Paste or I can press Ctrl+V or Cmd+V on the Mac and then Photoshop will ask me how I want to paste this artwork. Now I should say if you're bringing vector-based artwork in from another application, let say InDesign then it'll just go ahead and paste this as a Smart Object by default, but when you're working with Illustrator you've got choices. For example, I could select Pixels if I wanted to paste a pixel-based layer. Now the only reason you do that is if something went wrong with the Smart Object paste, otherwise you want to steer clear of that option, because it efforts you a lot less flexibility, you can also paste Path outlines if you want to and those outlines will appear in the Paths panel and we'll visit Paths in more detail when we look at the Pen tool in the future chapter inside this course.
And then your last option is to paste to Shape Layer and I'm going to go ahead and do that for now, so I can show you how things have improved inside CS6, so I'll go ahead and click OK and we end up with a new shape layer called Shape 1. Now you may recall that our Illustrator artwork included strokes and those have gotten lost in the translation, so all we have our path outlines filled with the foreground color in my case black, but I can reinstate those strokes if I want to by switching to my black Arrow tool which I can get by pressing the A key and then I'll have access to my Stroke options up here in the options bar.
I'm going to start by clicking in the Stroke swatch and then I'll click on this little colorful icon to bring up to a Color Picker dialog box and I'll change the R value to 150 and then I'll click OK and I'll also change the width of the stroke to 1 point in the case of this artwork and I'm going to have to modify where that stroke sits, so I'll click on this little line icon then I'll click on More Options and I'll change my Align setting to Outside and you may notice in the background that introduces an error, but if I switch to Corners from Mitre to Round than that little anomaly goes away, right now click OK in order to accept that change and I'll also press the Enter key or the Return key on the Mac to hide that panel and I might will press Ctrl+H or Cmd+H on a Mac to hide those shape outlines.
Problem is even though I can build back a certain amount of the fills and strokes associated with this tiger. A shape layer can contain just one fill and my originals Illustration had a black fill inside the Tigers face and then some gradients inside of these flames on the far left and right sides and that is not something I can achieve without creating a separate shape layer. So really the best way to work where this artwork is concerned is to bring it in this Smart Object, so I'm going to press the Backspace key or the Delete key on the Mac to get rid of that layer and I'll press Ctrl+V or Cmd+V on a Mac in order to invoke the Paste command and I'll select Smart Object and click OK and then I'll go through the same ritual as before, I'll go ahead and turn on link icon up here in the options bar and I'll change the Width value to 50% and that will change the height value to 50% as well then I'll press the Enter key or the Return key on the Mac a couple of times in order to create that Smart Object layer.
Now an additional advantage to working with this Smart Object is that we can transform this layer as much as we want and we'll keep track of the transformations as we go as opposed to having the transformed values reset as happens when you apply multiple transformations to a vector based shape player. So where this specific artwork is concerned, a Smart Object is by far the best solution. In the next movie we'll begin warping and transforming this layer in order to fit around this fellow's bicep.
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