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Photoshop CS4 One-on-One: Mastery

Creating a multilayer Smart Object


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Photoshop CS4 One-on-One: Mastery

with Deke McClelland

Video: Creating a multilayer Smart Object

In this exercise, I'm going to show you how we can modify a Smart Object and gain access to pixel-level modifications and even create a multilayer Smart Object, if we want to. So multiple layers inside of a single Smart Object container. I've got ahead and saved my changes as Horde o germs.psd, and I went ahead and renamed this one layer right there. He used to be called independent germ, I changed his name to breakaway because he really is a breakaway germ and that's a shorter name, so I don't have to have my Layers palette so wide. So this guy is linked to a different Smart Object because as you may recall, we right-clicked in order to create that Smart Object. We selected one of the other ones, right-clicked on it and chose this command right there, New Smart Object via Copy. So that's why he is a breakaway.
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  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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Photoshop CS4 One-on-One: Mastery
13h 7m Advanced May 29, 2009

Viewers: in countries Watching now:

Photoshop mastery can be elusive, but in Photoshop CS4 One-on-One: Mastery, best-selling author and video trainer Deke McClelland teaches the most powerful, unconventional, and flexible features of the program. In this third and final installment of the popular and comprehensive series, Deke delves into the strongest features that Photoshop has to offer, including scalable vector graphics, Smart Objects, and Photomerge. Exercise files accompany the course.

Recommended prerequisites: Photoshop CS4 One-on-One: Fundamentals and Photoshop CS4 One-on-One: Advanced, both part of the lynda.com Online Training Library®.

Download Deke's customized keyboard layouts and color settings for Photoshop from the Exercise Files tab.

Topics include:
  • Defining the essentials of masking
  • Resizing images with content-aware scaling
  • Adjusting perspective with Vanishing Point
  • Applying Smart Filters to create complex effects
  • Using the Auto-Align tool to build composite images
Subjects:
Design Photography
Software:
Photoshop
Author:
Deke McClelland

Creating a multilayer Smart Object

In this exercise, I'm going to show you how we can modify a Smart Object and gain access to pixel-level modifications and even create a multilayer Smart Object, if we want to. So multiple layers inside of a single Smart Object container. I've got ahead and saved my changes as Horde o germs.psd, and I went ahead and renamed this one layer right there. He used to be called independent germ, I changed his name to breakaway because he really is a breakaway germ and that's a shorter name, so I don't have to have my Layers palette so wide. So this guy is linked to a different Smart Object because as you may recall, we right-clicked in order to create that Smart Object. We selected one of the other ones, right-clicked on it and chose this command right there, New Smart Object via Copy. So that's why he is a breakaway.

The others are straight clones, by which I mea they are instances of a single Smart Object. All right, so now let's say my art director and I are getting along a lot better, you'll be glad to know. And we've decided that the add is ready to go and we are showing it off to the client and now the client totally loses it, and they have got two big problems. One is they love the germ that's trapped inside the g, right there. They love that. But they hate the other germs because they are blue, so they are matching the glistenex logo. They ought to match the green of the word germs and also they are not scary enough.

They need to have more terrifying expressions. They are just too cute, the way things are all right now. So, imagine I had forty or fifty germs. If I worked for Smart Objects, I would have to edit every single one of the germs independently. Thanks to the fact that all these are the instances of a single Smart Object with the exception of breakaway here, which the client wants to keep the same as it is. We can edit them all at one fell swoop. But how? How best to approach these? Well, the best command for making these germs nice and scary, it seems to me because I don't want to have to redraw them would be the Liquefy command, because I could use the Liquefy filter in order to modify the features, in order to make the eyes smaller, and the eyebrows scarier and the teeth bigger and that kind of thing.

The problem is I'll go to Germ 3 here, just an arbitrary layer, just any one of them is fine. If I go to the Filter menu, you will see that Liquefy is dimmed and so is Vanishing Point and so is, for example, Lens Blur. And the reason that they are dimmed is these guys require direct access to the pixels. That's the only way they function. And that also goes for a few other commands, as well as a few other tools. So, for example, I wanted to heal this fellow. If I went and got the Healing Brush, which requires direct access to pixels as well, I would get a little Ghostbusters icon. I can't apply directly to a Smart Object because when you are working with the Smart Object, the fact that you are able to do things like applying nondestructive modifications is great, but there is a little bit of a penalty and that penalty is you do not have direct access to pixel-level modifications.

If you want that, you've got to open up the Smart Object in a separate window. Okay, so I'll do that. I'll go over to the Germ 3 layer. Again, it doesn't matter which one of the three Germs you open, but I'll go to Germ 3 and I'll double-click on its thumbnail in order to open that germ in an independent window and now notice, I can't apply the human brush because I do have direct access to the pixels. But where I do apply a transformation, which would be a really dumb thing to do in this view, you would now be applying destructive transformations. So you either have one or the other, you have direct pixel access are you have nondestructive transformations and all of the other wizardry that's associated with Smart Objects. So in order to regain access to the nondestructive modifications, you would just move back to the larger layered composition, right here.

All right, so anyway, I'm going to go back to Germ 11, it's called for me. It might be called Germ 1.psd. The idea is when you open a Smart Object, Photoshop has to create a temporary document inside this Temp folder and it's going to end in psd, but it's going to have an arbitrary name, don't worry about that. All right, I'm going to switch back to my rectangular Marquee tool because the command I want to use is Liquefy. I am going to go up to the Filter menu and choose Liquefy command, and that brings up the big old Liquefy utility right here, and then I would just start making my changes, Right, I would make his eyebrows really stern, right there and I would increase the size of it's mouth and I would make his tongue really long.

So it looks like he's got something in his cheek that's scary and gives him a really big chin. Actually, what I think I'll do is click on the Load Mesh button because I've created a much more satisfactory mesh in advance here and it's this one Angry germ.msh. Go ahead and click on it and then click Open, and you'll get this, which I quite like. This is looking good. And then I'll click okay in order to apply that modification and there he is, Oh! He's so scary. All right, now I want to make him green instead of cyan. So I'm going to go to my adjustments palette right there, expand it and I'll Alt- click or Option-click on this little Hue/Saturation icon, right there and I'll call this skin to green, I think, it will work for me and I'll click okay and I'm now going to change the Hue value, but If I change the Master Hue value, to something like -51 let's say which works nicely for changing his cyan skin to green, then I also change his red mouth to magenta and that's no good at all.

So let's undo the modification there. Instead I'm going to take advantage of the new Target Adjustment tool. I'll go ahead and click on it to make it active and then I'll Ctrl+Drag because I want to change the Hue value or Command+Drag, inside of the Germ's skin like so. And so that's the Ctrl+Drag on a PC and Command+Drag on a Mac, until I changed that Hue value to -50. This time I'm only affecting the cyan, so I'm leaving the mouth alone. Looks awesome. Now my point here is I can have a multi-layered Smart Object if I want. So you can create layers inside of this Smart Object container.

In the next exercise, we are going to see how the moment we choose the Save command, we update all of the instances in kind and it really is worth seeing in its own exercise, coming right up.

Find answers to the most frequently asked questions about Photoshop CS4 One-on-One: Mastery.


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Q: My Polygon tool is locked into a very small size. I can use the Transform tool to increase it's size once drawn, but I must have something set that will not allow me to freely draw it like I can the other shapes. What could be causing this problem?
A: This could be caused by a value associated with the Radius option of the tool. Click the down-pointing arrowhead to the right (a few tool icons over) from the Polygon tool in the options bar at the top of the screen. This brings up pop-up panel. If the Radius option has a number value, select that value and press Delete or Backspace to clear it out. That should fix the problem.
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