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Photoshop Smart Objects explores the creation and use of Smart Objects, one of the most technically demanding tools in Photoshop. Deke McClelland walks through the four primary purposes of Smart Objects, and focuses on one of their most practical advantages, non-destructive transformations. This feature allows any object to be manipulated in any way, while still maintaining its original pixel information. Finally, Deke shows how to crop compositions without affecting a single pixel, even in masks. Exercise files accompany this course.
Download Deke's customized keyboard layouts and color settings for Photoshop from the Exercise Files tab.
This time I'll save my progress as Blue & red.psd found inside the 04_nested_objects folder. And in this exercise, we are going to recolor various portions of the background in order to achieve something of a discotheque effect that I think we'll have to ironically set off Emo girl here. And again, this is one of those techniques that doesn't have any exclusive bearing on Smart Objects but it is applicable to Smart Objects. You can't apply adjustment layers inside of Smart Objects or outside of them as we are about to do.
But then, having done that, we'll be able to re-purpose this super massive Smart Object right there, and we'll be able to use it to regain some of the highlights that we've lost so far. All right, so I am going to go ahead and click on SO combo dark in order to select it, then I am going to zoom out so that I can see all of my composition including much of the pasteboard out here. And I am going to press Ctrl+Semicolon or Command+Semicolon on the Mac in order to redisplay my guidelines. And using my Rectangular Marquee tool, which you can see is selected here, I'm going to select the right-half of the image and then I am going to go ahead and press the Alt key or the Option key on the Mac, click on the black/white icon and I am going to choose Hue/Saturation and that's going to force the display of a dialog box right here.
And I am going to go ahead and call this layer right half and I'll click OK in order to create a new layer. And the value that I am going to enter here inside of Adjustments is a Hue of 165, like so, and this is a relative modification so we are shifting what were formerly blues over to oranges, and what were formerly reds over to greens and so on. And if you don't like that value, you can experiment with something different. You can try out different hue values that are available to you and you will get different effects. Go figure. Anyway I am going to stick with the Hue of 165.
And let's go ahead and hide the Color palette so that we can have the Adjustments palette and the Layers palette up on screen at the same time. Now then, I am going to duplicate this layer right there by clicking on it and pressing Ctrl+J. Can I do that? I can. I was wondering, because my value of 165 was selected there, so I wasn't sure that Photoshop would recognize Ctrl+J or Command+J on a Mac, but it did. All right, so with this layer selected, I'll go ahead and rename it left half, because that's what it'll be and then I'll click on the layer mask thumbnail, and I'll press Ctrl+I or Command+I on a Mac in order to invert that layer mask.
So now we are affecting the left half of the image. Now, we are affecting it to the same degree we affected it before. So as a result, all the blue areas are now orange and all the formerly red areas are now green. Let's change that by shifting this Hue value right there to 50 like so. And then go ahead and press the Enter key or the Return key on a Mac to accept your modification. Now we have managed to change all the colors throughout the background. Not inside the Emo girl, of course, because she's on a layer above the current adjustment layer.
So, she's unaffected thus far. I'll tell you what we are going to do. This area between her ankles right here, I want that to be the original color. So I am going to go ahead and grab my Lasso tool, once again, by pressing the L key, and then I'm going to Alt+Click or Option+Click. So I have gone ahead and press the Alt key or the Option key, so I have it down as I clicking around this region like so. And then once I am done, I'll release the Alt key or the Option key in order to finish off my polygonal selection outline. And so we can see what we are doing, I am going to collapse the Adjustments palette by clicking in this empty right region right, there.
And with left half selected, I want to restore this area to the original color. That means that the layer mask has to be filled with black inside of the selection outline. So I'm to go ahead and switch the foreground and the background color. So black is foreground and white is background. You can also do that by pressing the X key and then I'll press Alt+Backspace or Option+Delete on the Mac. And now, I'll drop down to the right half layer right there and I'll do the same thing. Alt+Backspace or Option+ Delete to fill the selection with black.
And I am filling the layer mask with the black of course and as a result, this area is not affected by either of the Hue/Saturation adjustment layers. Now, I'll press Ctrl+D, Command+D on the Mac in order to deselect that region. I'll press Ctrl+Semicolon or Command+ Semicolon on the Mac in order to hide my guidelines and this is the colorized effect. Now I am at this point missing the highlights. Remember those bright vivid highlights that were popping off the lens flare effects. We are going to restore those in order to create an effect better resembling this one right here in 1st draft.psd, and we're going to do that in the very next exercise.
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