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Vector copy and paste options

From: Photoshop CS5 One-on-One: Mastery

Video: Vector copy and paste options

In this exercise, I am going to show you how to I copy a graphic from Illustrator and then paste it into Photoshop and you'll see we have scads of options for how that illustration gets placed. I am working in Illustrator by the way, so those of you who are familiar with Illustrator, great. Follow along with me. Those of you who generally do follow along with me but aren't that familiar with Illustrator you might want to just sit back and watch me work. It depends on what your interest level in Illustrator is of course. Now, I've opened Tiger tattoo.ai found inside the 29_smart_objects folder.

Vector copy and paste options

In this exercise, I am going to show you how to I copy a graphic from Illustrator and then paste it into Photoshop and you'll see we have scads of options for how that illustration gets placed. I am working in Illustrator by the way, so those of you who are familiar with Illustrator, great. Follow along with me. Those of you who generally do follow along with me but aren't that familiar with Illustrator you might want to just sit back and watch me work. It depends on what your interest level in Illustrator is of course. Now, I've opened Tiger tattoo.ai found inside the 29_smart_objects folder.

It's that graphic from Miguel. Notice we just have three paths. I have the layer expanded here in the Layers panel and you do that just by clicking on this little twirly triangle there. So, I've just got three paths including this very complicated compound path in the background. So, if I click on this guy right there you can see that it selects a lot of sub paths. So, we have a big flame subpath on the outside with all these other sub paths cutting holes on the inside. That entire compound path is filled with black; it has a red stroke and so on.

Then on either side we have these right gradient flame paths. Now this flickering that we are seeing here is caused by smart guides. Just because we don't need the smart guides right now, I am going to go up to the View menu and choose Smart Guides or press Ctrl+U, Command+U on the Mac to turn them off. All right, that just makes for a smoother video experience here. Now, I am going to go up to the Select menu and choose the All command or press Ctrl+A, Command+A on the Mac to select all the various paths inside of this graphic. Then I'll go to the Edit menu and choose the Copy command or press Ctrl+C, Command+C on the Mac.

Now, let's switch applications and I'll go up to the Edit menu and I'll choose the Paste command or press Ctrl+V, Command+V on the Mac. Now, notice there are many options, four options in all that we have for pasting this graphic. We could paste it as Pixels so that would permanently rasterize your vector graphic. The only reason I would do that is if I were having some kind of weird problems with the on-the-fly rasterization that happens with Smart Objects. So, generally speaking you don't want to paste as Pixels because then you lose your vectors. Another option is to paste the graphic as a Path and that would be a path outline just like the ones that we learned about in the Pen tool chapter.

The problem with that approach, even though it's pretty versatile because you still have those vector paths available to you and you can do anything with them that you want inside of Photoshop. But you may recall back here inside of the Illustrator graphic we have fills and stroke and we've got gradients on the outside. We are going to lose that stuff because you can't apply independent fills and strokes to a single path outline inside of Photoshop. Anyway, I am going to go back there. Another option is to paste the graphic as a Shape layer. Let's go ahead and try that for a second just so you can see what that looks like.

I'll click Shape layer and I'll click OK and notice it comes in my case with 100% black fill and that's it. We don't have that stroke; we don't have that gradient, any of that jazz. But we do still have all the vector- based path outlines right there inside of that vector masks. If I wanted to scale this graphic I would just go to the Edit menu, choose Free Transform Path or press Ctrl+T, Command+T on the Mac, click the Link icon and change the Width value to 50% just for the sake of consistency because that's what we've been doing so far. That resizes both the width and height by 50% and then press the Enter key a couple of times or Return key on the Mac in order to accept that modification.

Now, that's great and then there's all kinds of things we can do with it here inside Photoshop including I should mention here. We can go to the Edit menu and choose Transform Path and choose Distort, Perspective or Warp. Three options that are not available to us with Illustrator Smart Objects, however, what we can't apply is Puppet Warp. So, Puppet Warp is not applicable to vector-based path outlines inside Photoshop. But it is, as you may recall from the advanced portion of the series you can and should apply Puppet Warp to Smart Objects.

All right, so what I'm going to do is delete this layer by pressing the Backspace key or the Delete key on the Mac. Then I'll press Ctrl+V for Paste, one last time here Command+V on the Mac and I'm going to say that I want to Paste this graphic as the Smart Object, click OK. It comes in just like it does if we were to have placed the illustration or dragged and dropped it from the Desktop, from the Mini Bridge what have you. I'll go up to the Options Bar, click the Chain icon, change the Width value to 50% that changes the Height value too. Then press the Enter key a couple of times or the Return key a couple of times on the Mac.

Now, notice I am going to go up to the Edit menu with this layer selected; this new Smart Object layer and I'll demonstrate to you that Puppet Warp is indeed available to us and we will be using that function in order to distort the tattoo onto this guy's arm. However, under the Transform submenu Distort, Perspective and Warp are all dimmed. Now, normally those are available when we are working with Smart Objects but not when we are working with Illustrator Smart Objects; they are special type. All right, so I am going to escape out of that menu.

One more thing I want to tell you about Illustrator. I am going to move back to Illustrator once again and let's say I were preparing to save this graphic so I could use it inside of Photoshop or InDesign for that matter or a bunch of the other Adobe programs. Why then I'd go up to the File menu and I choose the Save As command. You don't have to choose Export or anything like that. You can choose Save As and you would save the file to the .AI format. There is no need anymore unless you're going to some ancient version of QuarkXPress or PageMaker or something; there's no reason to use the EPS format, the Encapsulated PostScript format.

It is a vestige of the old days. It has been essentially unnecessary for the last 15 years of Adobe applications. So, you go with the .AI format right there. You don't have to choose PDF either, so .AI is fine. That's the native Adobe Illustrator format and I'm just going to call this Tiger tattoo demo. So, Illustrator doesn't ask me if I want to replace my existing graphic. I'll click Save and then up comes this dialog box. You can change the Version to some older version if you want to. If you are worried about backward compatibility this file is pretty simple.

So, you could go back as far as Illustrator CS without causing any problems back farther than that as well. Here's the thing though. You want to make sure that Create PDF Compatible File is turned on. That's very important because what that does is it embeds a PDF description of the file inside of the larger .AI file and that's the description of the file that Photoshop reads, InDesign reads and so on. You also want to go ahead and toss in an ICC Profile that's always a good idea for color management. Then Use Compression is just fine, this is lossless compression, it's not going to hurt anything.

I am going to click Cancel but I just want you to note Create PDF Compatible File must be turned on. It is turned on by default so just don't turn it off. In the next exercise, we are going to begin the task of blending this Tiger tattoo with the guy's arm.

Show transcript

This video is part of

Image for Photoshop CS5 One-on-One: Mastery
Photoshop CS5 One-on-One: Mastery

192 video lessons · 43702 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 40m 45s
    1. Welcome
      2m 45s
    2. Making Photoshop your default image editor
      7m 43s
    3. Installing the dekeKeys keyboard shortcuts
      8m 10s
    4. Remapping OS shortcuts
      7m 37s
    5. Installing the Best Workflow color settings
      4m 31s
    6. The color settings explained
      6m 54s
    7. Loading the CS5 color settings in Bridge
      3m 5s
  2. 1h 11m
    1. Your creative range continues to expand
      1m 46s
    2. The Avatar project so far
      2m 38s
    3. Painting on a photograph
      7m 50s
    4. Adding texture and depth
      6m 14s
    5. Simulating chalky white paint
      7m 23s
    6. Masking and placing an image
      7m 20s
    7. Upsampling and Lens Blur
      5m 9s
    8. Blending blurry elements
      3m 48s
    9. Making a Smart Object
      6m 46s
    10. Placing an image as a Smart Object
      3m 22s
    11. Blending away a background
      5m 56s
    12. Applying Smart Filters
      4m 34s
    13. Creating a glow with Lens Flare
      3m 45s
    14. Blending and masking a glow
      5m 3s
  3. 1h 26m
    1. Using the image to select itself
      1m 53s
    2. Introducing masking
      6m 32s
    3. Making an alpha channel
      6m 54s
    4. Using the Calculations command
      6m 48s
    5. Add, Subtract, Offset, and Scale
      5m 54s
    6. Prepping an image with the Dodge tool
      6m 55s
    7. Fixing mistakes before they get too big
      6m 32s
    8. Painting in the Overlay mode
      5m 51s
    9. Exaggerating and selecting flesh tones
      7m 39s
    10. Smudge, Median, and the Blur tool
      6m 59s
    11. Masking low-contrast details
      6m 7s
    12. Creating a flesh-and-clothing mask
      5m 45s
    13. Masking and compositing the foreground
      5m 27s
    14. Finessing the final composition
      7m 39s
  4. 2h 24m
    1. Connecting the dots
      1m 40s
    2. The Pen tool and the Paths panel
      6m 32s
    3. Drawing a straight-sided outline
      6m 25s
    4. Editing a path outline
      6m 36s
    5. Adding and editing smooth points
      5m 35s
    6. Creating vector masks with the shape tools
      4m 59s
    7. Building a complex outline from shapes
      4m 26s
    8. Subtracting and transforming shapes
      6m 45s
    9. Cloning, flipping, and combining shapes
      8m 58s
    10. Roughing in non-symmetrical paths
      7m 41s
    11. Finessing a complex outline
      9m 15s
    12. Masking a layer effect
      8m 26s
    13. Isolating an image element
      6m 8s
    14. Smooth points and control handles
      9m 3s
    15. Stretching curved segments
      7m 49s
    16. Using the Rubber Band option
      9m 33s
    17. Drawing smooth points with the Pen tool
      6m 59s
    18. Shading an isolated object
      3m 45s
    19. Drawing cusp points
      7m 14s
    20. Setting points in the pasteboard
      9m 57s
    21. Using the Convert Point tool
      6m 42s
  5. 2h 57m
    1. Everything you need to know about blending
      1m 45s
    2. Photoshop CS5's blend modes
      7m 21s
    3. Cycling between blend modes
      6m 15s
    4. Darken and Lighten and their derivatives
      6m 3s
    5. The blend mode shortcuts
      8m 6s
    6. The Multiply and Burn modes
      4m 28s
    7. The Screen and Dodge modes
      6m 0s
    8. How opposite blend modes work
      8m 24s
    9. Why Multiply darkens and Divide lightens
      5m 23s
    10. Cleaning up a client's bad art
      5m 3s
    11. Dropping out a white background
      5m 56s
    12. Blending inside blend modes
      8m 3s
    13. Overlay, Soft Light, and Hard Light
      6m 26s
    14. Vivid, Linear, and Pin Light (and Hard Mix)
      6m 35s
    15. Difference, Exclusion, Subtract, and Divide
      7m 34s
    16. Great uses for the Difference mode
      6m 18s
    17. Promising uses for the Divide mode
      9m 6s
    18. Hue, Saturation, Color, and Luminosity
      7m 0s
    19. Blending an inverted layer
      3m 32s
    20. The "Fill Opacity Eight"
      7m 25s
    21. Making bad blend modes good
      5m 16s
    22. Making a knockout layer
      6m 53s
    23. Blending in the CMYK mode
      8m 3s
    24. Overprinting black text
      8m 29s
    25. Using the Luminance slider
      5m 24s
    26. Parametric luminance masking
      6m 21s
    27. Adjusting the behavior of luminance effects
      10m 8s
  6. 2h 2m
    1. Smart Objects = protective containers
      1m 35s
    2. Placing an Illustrator graphic
      6m 30s
    3. Vector copy and paste options
      6m 56s
    4. Applying Puppet Warp to vectors
      8m 9s
    5. "Gluing" vector art for Puppet Warp
      5m 50s
    6. Warping art onto the surface of an image
      8m 7s
    7. Blending a Smart Object
      4m 30s
    8. Blurring and blending a Smart Object
      6m 8s
    9. Making changes in Illustrator
      5m 57s
    10. Creating "true clones"
      7m 18s
    11. Double-flipping text
      4m 44s
    12. Applying effects to multiple layers
      3m 24s
    13. Updating true clones in one operation
      7m 36s
    14. Editing JPEGs as Camera Raw objects
      5m 49s
    15. Creating a double-exposure effect
      7m 15s
    16. Masking and shading transitions
      7m 47s
    17. Applying and repeating Camera Raw edits
      6m 9s
    18. Copying vs. cloning a Smart Object
      5m 18s
    19. Flipping a Smart Object and its mask
      3m 42s
    20. Adjusting multiple Camera Raw clones
      3m 53s
    21. Text that inverts everything behind it
      5m 34s
  7. 1h 59m
    1. This time, "smart" means dynamic
      1m 37s
    2. Introducing Smart Filters
      6m 28s
    3. Traditional High Pass sharpening
      5m 17s
    4. Smart High Pass in the Lab mode
      7m 57s
    5. Sharpening a high-frequency image
      7m 46s
    6. Retroactively reducing noise
      7m 31s
    7. Which filters are Smart Filters?
      6m 20s
    8. Shadows/Highlights as a Smart Filter
      4m 37s
    9. Nesting one Smart Object inside another
      7m 11s
    10. Drawing a mask from a nested Smart Object
      8m 7s
    11. Better Shadows/Highlights inside Lab
      9m 16s
    12. Tempering saturation values in Lab
      7m 0s
    13. Filtering live, editable text
      9m 2s
    14. Enhancing filters with layer effects
      4m 33s
    15. Applying a filter multiple times
      5m 0s
    16. Creating a synthetic star field
      7m 7s
    17. Making a stucco or drywall pattern
      6m 28s
    18. Land, sea, and clouds
      8m 30s
  8. 2h 50m
    1. Photoshop's advanced painting tools
      2m 3s
    2. Canvas texture and brush libraries
      6m 40s
    3. Painting with a predefined custom brush
      9m 21s
    4. Dissecting a custom brush
      11m 9s
    5. Designing and using a custom brush
      4m 54s
    6. Saving and loading brush presets
      5m 27s
    7. The ten styles of bristle brushes
      9m 47s
    8. Size, Spacing, and Angle
      7m 2s
    9. Using the Bristle Brush preview
      7m 53s
    10. Bristles, Length, Thickness, and Stiffness
      6m 53s
    11. Stylus tilt and mouse behavior
      5m 25s
    12. Stroking a path outline with a brush
      4m 0s
    13. Troubleshooting a stylus
      5m 49s
    14. Introducing the Mixer Brush
      7m 22s
    15. The Load, Mix, and Wet values
      5m 1s
    16. Cleaning and loading a brush
      6m 26s
    17. Shading a piece of graphic art
      6m 34s
    18. Shading with color
      7m 53s
    19. Mixing a photographic portrait
      6m 11s
    20. Tracing the fine details in an image
      5m 52s
    21. Crosshatching and brush size
      5m 53s
    22. Covering up and augmenting details
      7m 36s
    23. Painting in hair and fabric
      5m 54s
    24. Painting and scaling very fine hairs
      8m 7s
    25. Adding texture with the Emboss filter
      8m 31s
    26. Exploiting a "happy accident"
      2m 46s
  9. 1h 40m
    1. Artificial intelligence that works
      1m 22s
    2. The Auto-Align Layers command
      7m 25s
    3. The Auto-Blend Layers command
      3m 54s
    4. Masking auto-aligned layers
      4m 50s
    5. The Geometric Distortion setting
      6m 44s
    6. The Seamless Tones and Colors checkbox
      4m 8s
    7. Creating the best possible layer mask
      9m 18s
    8. Auto-blending depths of field
      5m 54s
    9. Finessing masks, accepting imperfections
      6m 29s
    10. Shooting and downsampling panorama images
      5m 54s
    11. Introducing the Photomerge command
      6m 40s
    12. Evaluating the Layout settings
      6m 47s
    13. Loading, aligning, and blending with Photomerge
      5m 36s
    14. Tracing and extracting seams
      7m 18s
    15. Adding a masked element into a panorama
      5m 55s
    16. Simplifying and correcting a panorama
      5m 58s
    17. Smart Filters and nondestructive cropping
      6m 43s
  10. 1h 18m
    1. The most mysterious of mysterious topics
      2m 29s
    2. Introducing HDR Toning
      6m 43s
    3. Reigning in clipped highlights
      5m 54s
    4. The Local Adaptation options
      9m 5s
    5. Nondestructive editing with HDR Toning
      8m 22s
    6. Using the HDR Toning Curve
      7m 2s
    7. HDR Toning vs. Shadows/Highlights
      6m 0s
    8. Merging multiple exposures
      7m 14s
    9. A first look at HDR Pro
      6m 24s
    10. Removing ghosts, correcting backlighting
      7m 11s
    11. Generating and editing an HDR comp
      7m 0s
    12. HDR rendered to completion
      5m 19s
  11. 1h 27m
    1. Processing hundreds of files in no time
      1m 43s
    2. Creating an action set
      6m 37s
    3. Making an action
      7m 7s
    4. Stop, Delete, and Record
      7m 12s
    5. Add, Undo, and Rerecord
      6m 40s
    6. Playing and testing an action
      6m 31s
    7. Playing and editing a specific operation
      6m 39s
    8. Permitting the user to change settings
      4m 58s
    9. Explaining an action with a custom stop
      5m 0s
    10. Batch-processing multiple images
      7m 22s
    11. Adding a Save As operation
      6m 34s
    12. Creating an action to save web graphics
      7m 59s
    13. Batching two actions into one
      7m 15s
    14. Saving and loading actions
      5m 30s
  12. 1m 19s
    1. See ya
      1m 19s

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