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Creating "true clones"

From: Photoshop CS6 One-on-One: Advanced

Video: Creating "true clones"

In this movie I'll introduce you to another feature of Smart Objects that doesn't have a name, that is to say Adobe has never given it a name, which is why I call it True Clones. And the idea is you can create several copies of a Smart Object and they'll all link back to a single original. So we're going to start with this revised version of the artwork, you can see that I've switched out the Tiger's head for a more colorful piece of stock art, but it still a Smart Object that links back to Adobe Illustrator, and I also have this layer of text. We're going to go ahead and convert the text into Smart Object and copy it several times to create this watermark pattern.

Creating "true clones"

In this movie I'll introduce you to another feature of Smart Objects that doesn't have a name, that is to say Adobe has never given it a name, which is why I call it True Clones. And the idea is you can create several copies of a Smart Object and they'll all link back to a single original. So we're going to start with this revised version of the artwork, you can see that I've switched out the Tiger's head for a more colorful piece of stock art, but it still a Smart Object that links back to Adobe Illustrator, and I also have this layer of text. We're going to go ahead and convert the text into Smart Object and copy it several times to create this watermark pattern.

And the idea is we're including this watermark, so if we give-away the image for free it's not usable until somebody purchases and downloads an unwatermarked version of the composition. But because I've set the watermark up using true clones, I can always switch out the company name if I want to like this. And I can do so in just a couple of operations as we'll see. So let's start off in this base composition here. For starters I need to set up a kind of grid, so that I can create copies of my text layer at regular intervals, so I'm going to press Ctrl+R or Cmd+R on the Mac to bring up the rulers, and then I'll select the background here in the Layers panel and press Ctrl+A or Cmd+A on the Mac in order to select the entire artwork and then I'll press Ctrl+T or Cmd+T on the Mac in order to enter the Free Transform mode.

At which point I can see this reference point target right there which represents the exact center of my artwork and now I'll drag down a horizontal guideline and snap it into alignment with that target and if you end up not seeing your guide as I'm not seeing mine, then press Ctrl+; or Cmd+; on a Mac in order to show those guides, and then I'll drag a vertical guideline out as well and now I'll press the Escape key in order to escape out of the Free Transform mode and I'll press Ctrl+D or Cmd+D on the Mac in order to deselect my artwork.

One more thing we want to do is locate the origin point for the ruler right there at that guide intersection. So I'll drag from the upper left corner of the rulers and snap my cursor into alignment with those guidelines, and now you can see the 0, 0 point is right there at the center of the artwork. All right, I don't need my rulers anymore, so I'll press Ctrl+R or Cmd+R on the Mac to hide him, and then I'll switch to my Text layer and convert it to a Smart Object by going up to Layers panel flyout menu and choosing Convert to Smart Object or if you loaded dekeKeys you can press Ctrl+, or Cmd+, on the Mac.

Now in ideal world I'll be able to duplicate this text by pressing Ctrl+Alt+T or Cmd+Opt+T and then step and repeat by pressing Ctrl+Shift+Alt+T or Cmd+Shift+Opt+T, but unfortunately neither of those features work with Smart objects. So what I'm going to do instead is press CtrlJ or Cmd+J on the Mac a couple of times in order to create copies of that Smart Object layer. Then I'll click in the middle one to select it and I'll press Ctrl+T or Cmd+T on the Mac in order to enter the Free Transform mode, and you want to make sure up here in the Options bar that this triangle, the delta is turned off, so that you're seeing absolute positioning values.

And then change that Y value to 0 and press the Enter key or the Return key on Mac a couple of times in order to scoot that text, so its center is exactly vertically aligned to the center of the artwork. Now click on the lowest of the Photos by Floyd layers and then press Ctrl+T or Cmd+T on the Mac to once again enter the Free Transform mode and change that Y value from negative to positive, so just get rid of the Minus (-) sign and press the Enter key or the Return key on the Mac a couple of times in order to nudge that text down. So by virtue of the fact that we're using the same value just a positive value instead of the negative value it's as far below the center of the artwork as the original layer is above the center of the artwork.

All right, that takes care of our first three true clones of our Smart Object original. In the next movie I'll show you how to create the other true clones using a simple but clever transformation trick.

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This video is part of

Image for Photoshop CS6 One-on-One: Advanced
Photoshop CS6 One-on-One: Advanced

124 video lessons · 19713 viewers

Deke McClelland
Author

 
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  1. 30m 4s
    1. Welcome to One-on-One
      2m 19s
    2. Loading the dekeKeys keyboard shortcuts
      6m 5s
    3. Remapping your Macintosh OS shortcuts
      3m 4s
    4. Adjusting a few general preferences
      4m 3s
    5. Using the visual HUD color picker
      2m 2s
    6. The interface and performance settings
      5m 31s
    7. Adjusting the color settings in Photoshop
      7m 0s
  2. 47m 0s
    1. Smart Objects
      1m 36s
    2. Three ways to place a Smart Object
      3m 6s
    3. Copying and pasting from Adobe Illustrator
      4m 11s
    4. Transforming and warping a vector object
      4m 48s
    5. Blending a Smart Object into a photograph
      3m 10s
    6. Blurring with a nested Smart Filter
      4m 57s
    7. Editing a Smart Object in Illustrator
      3m 20s
    8. Creating "true clones"
      3m 50s
    9. Duplicating a group of clones
      2m 53s
    10. Breaking the Smart Object link
      2m 53s
    11. Styling and blending Smart Objects
      2m 44s
    12. Editing originals; updating clones
      3m 41s
    13. Removing people from a scene with Median
      5m 51s
  3. 29m 59s
    1. Luminance meets sharpening
      1m 2s
    2. Correcting for lens distortion
      4m 39s
    3. Introducing Shadows/Highlights
      3m 54s
    4. Mitigating halos with Radius values
      4m 19s
    5. Enhancing the effects of Midtone Contrast
      3m 18s
    6. Creating a "bounce" with Gaussian Blur
      3m 29s
    7. Sharpening on top of blur
      2m 47s
    8. Masking a group of Smart Filters
      2m 53s
    9. Reducing the density of a layer mask
      3m 38s
  4. 49m 10s
    1. Using Curves
      2m 40s
    2. Introducing the Curves adjustment
      7m 36s
    3. Adding and editing points on a curve
      6m 27s
    4. Winning Curves tips and tricks
      8m 12s
    5. Correcting a challenging image
      6m 33s
    6. Selecting and darkening highlights
      4m 39s
    7. Neutralizing colors and smoothing transitions
      6m 6s
    8. The new automatic Curves function
      6m 57s
  5. 1h 31m
    1. Camera Raw
      2m 11s
    2. Opening and editing multiple images
      8m 1s
    3. Correcting white balance
      4m 8s
    4. The revamped Exposure controls
      8m 8s
    5. Working with archival images
      7m 54s
    6. The Spot Removal and Graduated Filter tools
      6m 4s
    7. Painting edits with the Adjustment Brush
      7m 23s
    8. Tone Curves (and why you don't need them)
      5m 57s
    9. Straighten, crop, and geometric distortions
      5m 17s
    10. Applying manual lens corrections
      5m 14s
    11. Vignette, chromatic aberration, and fringe
      6m 49s
    12. Selective hue, saturation, and luminance
      6m 36s
    13. Working with JPEG and TIFF images
      6m 36s
    14. Camera Raw Smart Objects
      6m 48s
    15. Editing Camera Raw images from Bridge
      4m 24s
  6. 32m 30s
    1. Duotones
      1m 23s
    2. Creating a professional-quality sepia tone
      4m 18s
    3. Introducing the Gradient Map adjustment
      5m 42s
    4. Loading a library of custom gradients
      3m 48s
    5. Creating a custom quadtone
      5m 48s
    6. Colorizing with blend modes and Opacity
      4m 6s
    7. Creating a faux-color, high-key effect
      7m 25s
  7. 1h 6m
    1. Noise vs. Details
      1m 28s
    2. Introducing the Reduce Noise filter
      7m 29s
    3. Correcting a noisy photo
      5m 33s
    4. Smoothing over high-contrast noise
      5m 50s
    5. Protecting details with an edge mask
      4m 52s
    6. Adjusting overly saturated shadows
      3m 35s
    7. Correcting with High Pass and Lens Blur
      3m 45s
    8. Brushing away blur and sharpening
      6m 42s
    9. Creating texture by adding noise
      5m 28s
    10. The Camera Raw Detail panel
      7m 8s
    11. Correcting noise and detail in Camera Raw
      8m 10s
    12. Adding noise grain and vignetting effects
      6m 47s
  8. 44m 30s
    1. Blur Gallery
      1m 36s
    2. Creating depth-of-field effects in post
      5m 29s
    3. Modifying your Field Blur settings
      4m 57s
    4. Editing and exporting a Field Blur mask
      6m 15s
    5. Adding a synthetic light bokeh
      3m 52s
    6. Using the Selection Bleed option
      7m 29s
    7. Creating a radial blur with Iris Blur
      6m 59s
    8. Creating "fake miniatures" with Tilt-Shift
      4m 35s
    9. Combining multiple Blur Gallery effects
      3m 18s
  9. 1h 34m
    1. Blend Modes
      1m 16s
    2. Using the Dissolve mode
      9m 47s
    3. Multiply and the darken modes
      8m 30s
    4. Screen and the lighten modes
      8m 10s
    5. Cleaning up and integrating a bad photo
      6m 38s
    6. Blending inside blend modes
      6m 55s
    7. Overlay and the contrast modes
      6m 53s
    8. A few great uses for the contrast modes
      9m 7s
    9. Difference, Exclusion, Subtract, and Divide
      5m 5s
    10. Capturing the differences between images
      4m 18s
    11. Hue, Saturation, Color, and Luminosity
      4m 45s
    12. Blend mode shortcuts
      6m 21s
    13. The Fill Opacity Eight
      8m 57s
    14. Using the luminance-exclusion slider bars
      8m 8s
  10. 44m 20s
    1. Color Range
      1m 14s
    2. Introducing the Color Range command
      7m 24s
    3. Selecting a complex image with Color Range
      5m 49s
    4. Refining a selection in the Quick Mask mode
      7m 4s
    5. Viewing a mask with or without its image
      4m 24s
    6. Painting directly inside an alpha channel
      5m 39s
    7. Correcting fringes around a masked layer
      8m 5s
    8. Turning a layer into a knockout
      4m 41s
  11. 59m 43s
    1. Refine Edges
      1m 28s
    2. Laying down a base layer mask
      6m 49s
    3. Introducing the Refine Edge/Mask command
      7m 57s
    4. Edge detection and Smart Radius
      4m 42s
    5. Using the Refine Radius tool
      7m 31s
    6. The transformative power of Refine Edge
      3m 37s
    7. Perfecting a mask with overlay painting
      10m 58s
    8. Combining Quick Selection with Refine Mask
      10m 37s
    9. Bolstering and integrating hair
      6m 4s
  12. 1h 18m
    1. The Pen tool
      1m 50s
    2. Pixel-based masking versus the Pen tool
      6m 45s
    3. Drawing a straight-sided path outline
      6m 57s
    4. Moving, deleting, and adding anchor points
      6m 10s
    5. Dragging control handles to modify curves
      5m 27s
    6. Converting a path outline to a vector mask
      5m 36s
    7. Customizing a geometric shape
      5m 53s
    8. How to position points and control handles
      7m 7s
    9. Drawing smooth points with the Pen tool
      8m 7s
    10. Duplicating and scaling a vector mask
      5m 21s
    11. Cusp points and the Rubber Band option
      6m 21s
    12. Setting anchor points in the pasteboard
      6m 8s
    13. Using the Convert Point tool
      6m 43s

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