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Editing a Smart Object in Illustrator

From: Photoshop CS4 One-on-One: Mastery

Video: Editing a Smart Object in Illustrator

In the previous exercise I showed you how you can scale a Smart Object logo as many times as you want without harming it one iota. In this exercise, I'm going to show you how we can modify the logo by double-clicking on it, launch Illustrator, make some changes inside of Illustrator, and then save our changes into Photoshop, not to an AI file on disc, but right back into Photoshop in memory. It's an amazing thing. All right, so here I am. I have gone ahead and saved my progress as 65-percent logo.psd. So called of course because my logo appears at 65% of its original size back in the Illustrator.

Editing a Smart Object in Illustrator

In the previous exercise I showed you how you can scale a Smart Object logo as many times as you want without harming it one iota. In this exercise, I'm going to show you how we can modify the logo by double-clicking on it, launch Illustrator, make some changes inside of Illustrator, and then save our changes into Photoshop, not to an AI file on disc, but right back into Photoshop in memory. It's an amazing thing. All right, so here I am. I have gone ahead and saved my progress as 65-percent logo.psd. So called of course because my logo appears at 65% of its original size back in the Illustrator.

We've kind of established that I and my art director don't necessarily get along. So let's say the art director comes by and goes, "What do you think, and what am I going to do with you?" Glistenex is very particular about their Glistenex blue, and they do not like their letters stroked with purple like that. That is just not going to fly. We need to get those strokes blue as well. We need to make everything Glistenex blue, and I'm like "Hey! No problem. Now that I understand how Smart Objects work, all I'm going to do is go over here to this Glistenex Logo layer, go to the thumbnail, double-click on it.

You are going to see this warning here that's going to tell you how to go about saving your changes. So once you get done modifying the contents of this logo, meaning that you are going to modify the logo itself, go ahead and choose File >Save to commit the changes. And I'll show you a different way to work. But those changes will be reflected upon returning to this composition right here. The file must be saved to the same location. This is a nutty little bit of text right here to the same location meaning, what? If the Save As dialog box appears, choose Cancel and flatten the image before saving. It has nothing to do with what we are about to do, because you can't flatten the image inside of Illustrator.

But anyway, we'll not see a Save As dialog box. The more important thing about this is that it is announcing to you that you should not choose Save As. You just want to choose the Save command or just close the Illustration and click on the Save button. That's a good way to work as well. I am not going to turn on my check box. You probably would want to do that. Once you learn how this works, you will probably not enjoy seeing this warning over and over again. So you will probably want to turn that on. But I'm just going to go ahead and click OK in order to open up the logo inside of Illustrator.

So here I'm inside of Adobe Illustrator. Now, those of you who don't know how Illustrator works, don't worry about it, unless you want to learn of course by all means. Check out my Adobe Illustrator CS4 One-on-One series. Anyway, what I want to do is I want to click on the logo to select it using my Black Arrow tool right here, and then I'm going to go over to the Appearance palette and I'll see here inside Appearance that I have a couple of different strokes. Actually, I have this None stroke as well. I don't know what that's about. But I have got this Violet stroke and I have got this sort of Grayish stroke.

So I'm going to click on the violet one and by clicking this down-pointing arrowhead, I'm going to change it to this color right there, Glistenex blue, this little swatch. That will take care of the offending violet color, and then I think I should do something with that Gray stroke as well. So I'll click on the Gray stroke right here, and I'll go ahead and click the down-pointing arrow, and I'll choose Glistenex blue like so. And now I have got blue on blue, which doesn't look too good. I want to back off of the blue a little bit. So I'm going to go up here to the Color palette, and I'm going to go ahead and set it to HSB as I have already done in advance. Probably appears the CMYK if you are working along with me. But I'll go to HSB and I'll decrease the Saturation value a little bit and I'll increase the Brightness as well and I'll press Ctrl+H or Command+H on the Mac to hide the anchor points and the other selection artifacts, so I can see what I'm doing.

Let's go ahead and take that Brightness all the way up to 100% and see how that looks. Now, it looks pretty darn good to me. All right, now what I want to do is I want to go ahead and save my changes to Photoshop, and it's very easy. All you have to do, you can either go to the File menu and choose the Save command. You just do not want to choose Save As or any of those, or you can just close the Illustration. Just click on the close box and then Illustrator will ask you, Do you want to save the changes? And you click Yes. Now, you are not saving them. It implies that you are going to save in an Adobe Illustrator document called Vector Smart No, you are not. That's actually not true.

But go ahead and click Yes. Oh! And now it's telling you, you are saving to a legacy format, which really doesn't make any dang sense, because you are saving into Photoshop. But somehow Photoshop is tracking it this way. So anyway, you just say, "Yes, don't worry about it. I do want to continue". Then the file will close of course. You will go over to Photoshop manually and a moment later, you will see the logo updates. So you may see a couple of seconds of old logo and then you will see it update inside of Photoshop. You just saved your changes into Photoshop, into this layer right there. How do you know you didn't go ahead and for example save to the original document? Well, let's go to check it out.

I will go to the Bridge for a moment here, and I have got Glistenex logo and Glistenex logo (no PDF). Let's go ahead and open up Glistenex logo, because that's the one that I imported in the Photoshop. So I'll double-click on it to open it inside of Illustrator, and you can see here is the old purple stroke and the gray stroke around it. So we have the same old double stroke effect we had in the past. So Photoshop is not linking to this Illustration here, instead you actually save directly into Photoshop. So this Illustration exists only in Photoshop and nowhere else.

Now, if you decide later, Hey! I would like to have access to this version of the Illustration, because I want to import it into InDesign or some other program. Why then you would double- click on it in order to open it up inside of Illustrator. You would click OK to the warning and just not worry about that. You will bring up the second document. Notice you now have opened, or at least I do, Glistenex and this more generically named Vector Smart, and you would go up to the File menu and you would now choose Save As, and you would save this under a different file name.

Now, you are going to be dumped into this Temp folder right there. That's pretty standard. So you're going to have to dig your way out. But then you would go ahead and call it something like Glistenex blue or something along those lines and then click Save. But of course in a different location, you wouldn't want to do it here. Anyway, I'm going to cancel out. I'm fine the way things are. I'm just going to go right back to Photoshop. So that's how you launch Illustrator from Photoshop, make some modifications and save all your vector information right back into that Photoshop Smart Object layer. And does that mean that we have got all that vector information which would expand the size of my Photoshop file? Does that mean I have got that information now inside of this Photoshop document? Yes, indeed it does. The PDF information is there and available for editing inside of Illustrator at any point in time.

My goodness, what a technical topic. In the next exercise, we are going to get a lot less technical. We are going to import the first of many germs. Stay tuned.

Show transcript

This video is part of

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

147 video lessons · 27693 viewers

Deke McClelland

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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
    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
    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
    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
    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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