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Photoshop CS4 One-on-One: Mastery

Placing a Smart Object


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Photoshop CS4 One-on-One: Mastery

with Deke McClelland

Video: Placing a Smart Object

In this first exercise, I'm going to show you the easiest way to create a Smart Object inside of Photoshop, which is to introduce an image or an illustration into an existing composition using this command right here under the File menu, the Place command. Place always introduces images or illustrations, any graphic, into a composition as a Smart Object, always, always. Very useful command these days. Back in the old days, not so useful. Now really great, in my opinion. Anyway, before we choose that command, I want you to open this composition right here. It's called Glistenex ad .psd, and it's found inside of the 26_smart_objects folder. It features as a backdrop, this self-portrait by photographer Joshua Blake of iStockPhoto.com, and this dude is going to serve as the background for an anti-bacterial hand soap ad. Because he's just so darn scared of germs, we want to exploit that.
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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

Placing a Smart Object

In this first exercise, I'm going to show you the easiest way to create a Smart Object inside of Photoshop, which is to introduce an image or an illustration into an existing composition using this command right here under the File menu, the Place command. Place always introduces images or illustrations, any graphic, into a composition as a Smart Object, always, always. Very useful command these days. Back in the old days, not so useful. Now really great, in my opinion. Anyway, before we choose that command, I want you to open this composition right here. It's called Glistenex ad .psd, and it's found inside of the 26_smart_objects folder. It features as a backdrop, this self-portrait by photographer Joshua Blake of iStockPhoto.com, and this dude is going to serve as the background for an anti-bacterial hand soap ad. Because he's just so darn scared of germs, we want to exploit that.

So we need to introduce the Glistenex logo into this composition. That's the first thing that we're going to do. Like so many logos out there, this one is saved as an .AI file. So it's vector artwork from Adobe Illustrator. Go up to the File menu and choose the Place command, and then go to the 26_smart_objects folder. Therein you will find this file among others. This one is called Glistenex logo.ai. Then I want you to click on the Place button, and you will get this dialog box right here that says Place PDF.

Now I've gone ahead and set my Thumbnail Size to Fit Page, yours might be really dinky like this. So you get this wee, little logo here. Whatever, it's not very indicative anyway; it's all jagged and weird looking. It looks much better against the black background than a white background. Of course, it's super smooth, because it's vector artwork from Illustrator. It looks really super great. But here is the deal, why in the world does it say Place PDF? What in the world is going on with that? This isn't a PDF file, it's an .AI file, it's an Illustration from Adobe Illustrator. Well, for the last several versions, Illustrator has taken to embedding PDF information, Portable Document Format information into .AI files, which is very essential to other programs other than Illustrator.

If you want to be able to open the illustration in Adobe Reader, for example, then you need that embedded PDF data and Photoshop needs it too. You cannot import an illustration without the PDF stuff. So anyway, I'm going to go ahead and click OK, and that brings in a logo, as we're seeing right there. Now, I'll go ahead and scale it, I don't want it to be nearly this big. Now I'm going to go ahead and scale it, I don't want it to be nearly this big. So I'll go up to the Options bar here, turn on the Link icon so that we scale this illustration proportionally. I'm going to change the Width value to 35%, so both Width and Height are 35% now. Now I'll go ahead and move this guy into a location down here in the lower right region of the composition and I'll press the Enter key or the Return key on the Mac in order to finalize the placement of this illustration. It may look a little jagged on your screen.

It does on mine. That's because I'm viewing the image at 60% view size. If I zoom in to 100%, it's going to look ultra great. Now, I was telling you that the Place command always generates Smart Objects, and that is true. How do you know? Because if you go over to the new layer, of course, the logo appears on its own layer. You'll see this little dinky icon right there that shows a kind of page right next to this something else, like a little graphic next to a page or something. That shows you that you have a Smart Object. That's a Smart Object icon inside of Photoshop for what it's worth.

Now, I believe the reason that they choose this little page metaphor is because you essentially have an illustration working inside of Photoshop. So it's almost like you have a link going to a file on disk, the way you would inside of InDesign. The big difference is it's not a link, it's an embed, which means the Illustrator information is actually now part of the Photoshop file, it's embedded into the Photoshop file, and we'll see what that means in later exercise. But why don't we just go ahead for the sake of demonstrational purposes, if nothing else. I want you to see that Smart Objects are full-fledged citizens inside of Photoshop. They have all the rights of other kinds of layers.

For example, we can go ahead and apply, if we want to, a Drop Shadow. So I'm going to go down to the fx icon and I'll choose Drop Shadow right there and I'm just going to go ahead and accept the default settings, which are these. Multiply 75%, 5, 5 with a 0 in between there and an angle of 138 degrees, which I've already established with my Global Light right there. I'll click OK and now we have a nice little Drop Shadow behind the logo. So we have the sweet interaction between a pixel-based Drop Shadow and a vector-based logo right here.

All right, so that's it. We have created the Smart Object, now we'll see what that means in a future exercise. But first, before I show you just how grand it is that we have a Smart Object and what we can do with it, I want you to understand that you've got to have PDF content in that illustration before you can add it to Photoshop. I'll show you what that means, in the next exercise.

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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