Photoshop Smart Objects
Illustration by John Hersey

Recoloring background regions


From:

Photoshop Smart Objects

with Deke McClelland

Video: Recoloring background regions

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.
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  1. 17m 13s
    1. Welcome to Photoshop Smart Objects
      59s
    2. Installing the dekeKeys keyboard shortcuts
      4m 18s
    3. Installing the CS4 color settings
      4m 15s
    4. Loading the CS4 color settings in Photoshop and Bridge CS4
      7m 41s
  2. 1h 12m
    1. Nondestructive transformations
      1m 14s
    2. The purpose of Smart Objects
      5m 17s
    3. The trials of destructive transformations
      5m 1s
    4. Creating a Smart Object
      6m 36s
    5. The rewards of nondestructive transformations
      4m 29s
    6. Preparing a composition for masking
      4m 59s
    7. Establishing a base alpha channel
      6m 25s
    8. Masking a Smart Object
      7m 3s
    9. Refining the layer mask
      6m 50s
    10. Multiplying the edges
      4m 17s
    11. Manually adjusting the problem edges
      6m 3s
    12. Free Transform feedback
      5m 14s
    13. The ultimate nondestructive crop
      9m 8s
  3. 1h 19m
    1. Photoshop and its support applications
      1m 45s
    2. Creating a Camera Raw (ACR) Smart Object
      5m 8s
    3. Converting a JPEG image to DNG
      4m 47s
    4. Replacing pixels with Camera Raw data
      5m 27s
    5. Matching image and ACR resolution
      4m 25s
    6. Adjusting ACR Smart Objects
      5m 33s
    7. Importing Illustrator artwork
      6m 13s
    8. Opening placed art in Illustrator
      5m 51s
    9. Examining dynamic effects
      7m 9s
    10. Modifying Illustrator artwork
      5m 20s
    11. Updating an Illustrator Smart Object
      4m 20s
    12. Styling placed artwork in Photoshop
      3m 33s
    13. Combining layer effects and adjustment layers
      5m 14s
    14. Copying a layer from a clipping group
      5m 0s
    15. Scaling vector data beyond 100 percent
      3m 9s
    16. Blending vector data with pixels
      2m 10s
    17. Saving PDF-compatible Illustrator art
      4m 23s
  4. 1h 26m
    1. Many Smart Objects reference a single source
      1m 9s
    2. Smart Objects and file size
      5m 11s
    3. Placing images as Smart Objects
      4m 44s
    4. Creating a basic lens flare
      5m 43s
    5. Turning a flare into a black hole
      6m 2s
    6. Establishing a first true clone
      4m 9s
    7. Finding the exact center of an image
      2m 37s
    8. Reflecting additional clones
      4m 55s
    9. The art of upsampling
      7m 45s
    10. Editing the root image
      5m 37s
    11. Updating all true clones
      3m 29s
    12. Roughing in a polygonal mask
      7m 13s
    13. Parametric Feather and Glow
      7m 12s
    14. Smart sharpening Smart Filter
      5m 36s
    15. Adding highlights and vibrance
      7m 10s
    16. Luminance blending
      8m 18s
  5. 49m 7s
    1. Placing one Smart Object inside another
      1m 9s
    2. Creating a super-massive Smart Object
      7m 9s
    3. Styling a super-massive Smart Object
      4m 29s
    4. Recoloring background regions
      4m 42s
    5. Cloning a super-massive Smart Object
      5m 56s
    6. Finishing off the first draft
      5m 4s
    7. The plasma ball effect
      4m 45s
    8. Applying the Smart Clouds filters
      4m 57s
    9. Converting clouds to lightning
      5m 4s
    10. Updating nested Smart Objects
      5m 52s
  6. 1h 14m
    1. Editable, nondestructive filters
      1m 24s
    2. Applying and modifying creative effects
      6m 54s
    3. Blending filtered effects
      6m 24s
    4. Tweaking filters with adjustment layers
      4m 14s
    5. Restoring halftone highlights
      4m 25s
    6. The price of Smart Filters
      5m 56s
    7. The power of true clones
      7m 13s
    8. Sharing between Smart Objects and comps
      8m 45s
    9. Just click on it
      1m 50s
    10. Applying a corrective filter
      5m 24s
    11. Smart Filters and disk space
      3m 46s
    12. Picking the right blend mode
      6m 36s
    13. Combining multiple Smart Filters
      6m 13s
    14. Editing and previewing filter settings
      5m 27s
  7. 1h 44m
    1. Still more Smart Filters
      1m 3s
    2. Introducing the non-filters
      4m 15s
    3. Reducing luminance contrast
      5m 19s
    4. Faking an HDR portrait effect
      7m 20s
    5. Adding a filter mask
      3m 22s
    6. Editing filter masks and density
      4m 26s
    7. Applying Variations as a Smart Filter
      7m 24s
    8. Establishing independent filter masks
      4m 51s
    9. Painting away unwanted halos
      6m 28s
    10. Creating a wood grain effect
      6m 2s
    11. The luminance-style filter mask
      6m 23s
    12. The downside of independent filters
      5m 11s
    13. Merging the effects of two filters
      4m 38s
    14. Adjusting and merging masked effects
      6m 26s
    15. Introducing the Filter Gallery filters
      4m 39s
    16. Applying a Filter Gallery filter
      5m 57s
    17. Merging two Filter Gallery effects
      7m 16s
    18. Adjusting the colors of Sketch filters
      5m 2s
    19. Adding a third filter to a combo
      4m 58s
    20. The versatility of Smart Filters
      3m 2s
  8. 1m 31s
    1. Goodbye
      1m 31s

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Watch the Online Video Course Photoshop Smart Objects
8h 5m Intermediate Nov 06, 2009

Viewers: in countries Watching now:

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.

Topics include:
  • Preparing a composition for masking
  • Manually adjusting problematic edges in a composition
  • Combining layer effects and adjustment layers
  • Roughing in a polygonal mask
  • Cloning a super-massive Smart Object
  • Applying Variations as a Smart Filter
Subjects:
Design Photography
Software:
Photoshop
Author:
Deke McClelland

Recoloring background regions

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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