Creating Smart Objects 449 Book V Chapter 5 Smart Objects Working with Figure 5-1: Create a Smart Object by placing your artwork into a Photoshop file. If your file is a native Illustrator or PDF file, the Open as Smart Object dialog box appears, asking you for additional information, as shown in Figure 5-2. If it’s a multipaged PDF, you can select the page or image you want placed. Select your crop- ping options. Not sure what they mean? Just select one and view the thumbnail to see how the image appears in relationship to the page. By the way, you can also select between a Small, Large, and Figure 5-2: When placing an Illustrator or Fit Page thumbnail view. PDF file, specify your options in the Open as Smart Object dialog box. If you happen to deselect the Create PDF Compatible File option when saving your native Illustrator file, you see a nasty warning in the Place PDF dialog box telling you to go back and resave your file with the option checked and then place the file again. Don’t take it personally. Illustrator was programmed based on PDF core code and sometimes doesn’t like it when you strip it of the connection. You can also select the image in Adobe Bridge and choose File➪Place➪ In Photoshop. See Book I, Chapter 4 for details on working with Bridge. 450 Creating Smart Objects 3. Using the bounding box, trans- form (scale, rotate, and so on) your image to your desired dimensions and then position it on your canvas, as shown in Figure 5-3. Remember, you can rest assured that your transformations are applied without degrading the quality of your image. If your image is larger than the Photoshop canvas, it’s automati- cally sized to fit within the canvas Figure 5-3: Transform and position your dimensions. If you need a refresher image before committing it into your file. on transforming and moving, see Book III, Chapter 3. If you’re placing a PDF, EPS (most of them), or native Illustrator file, specify the Anti-Alias option on the Options bar. Select it to create a softer, blended edge. Deselect it to produce a hard edge. 4. After you have your image the Smart Object icon way you want it, you can double- click inside the bounding box, press Enter (Return on the Mac), or click the Commit (check mark icon) button on the Options bar. When the artwork is committed, the native file data is embedded into the Photoshop file, and the artwork is rasterized on its own layer. The Smart Object icon appears on those layers, as shown in Figure 5-4. If you change your mind and don’t want to commit the image, press Esc or click the Cancel button on Figure 5-4: The Smart Object icon. the Options bar. Copying and pasting Before you copy and paste artwork from Illustrator into Photoshop as a Smart Object, be sure to check the PDF and AICB (no transparency sup- port) options in the File Handling and Clipboard preferences in Illustrator. Creating Smart Objects 451 Leave the default of Preserve Appearances and Overprints selected. By Book V doing so, you can control how your artwork is rasterized in Photoshop. If Chapter 5 left deselected, Photoshop rasterizes the art without your vital input. Follow these steps to copy and paste artwork as a Smart Object from Smart Objects Working with Illustrator into Photoshop: 1. Open your desired Adobe Illustrator file in Illustrator. 2. Select your artwork and choose Edit➪Copy. 3. Switch to Photoshop. Open your desired Photoshop document or cre- ate a new document. 4. Choose Edit➪Paste. 5. In the Paste dialog box, shown in Figure 5-5, select the Smart Object option and click OK. Your image is imported and appears in a bounding box, and the Layers panel shows that you pasted the image as a Smart Object, as shown in Figure 5-5. 6. Using the bounding box, transform (scale, rotate, and so on) your image to your desired dimensions and position it on your canvas. Perspective, Distort, and Warp transforma- Figure 5-5: Specify how you tions are unavailable to Smart Objects. want the artwork pasted. Because you chose Smart Object in the Paste dialog box in Step 4, remember that you can transform your artwork without degrading it before you place it into Photoshop. Like with the Place command, the native file data is embedded into the Photoshop file, and the art is rasterized on its own layer after the artwork is committed. 7. Commit the artwork by double-clicking inside the bounding box, pressing Enter (Return on the Mac), or clicking the Commit (check mark icon) button on the Options bar. Converting a layer into a Smart Object and vice versa If you want to convert a layer into a Smart Object, follow these steps: 1. Select your desired layer in the Layers panel. 452 Creating Smart Objects 2. Choose Layer➪Smart Objects➪Convert to Smart Object. You can also select the command from the Layers panel pop-up menu. After you convert a layer into a Smart Object, you see the Smart Object icon in the lower-right corner of the layer thumbnail. You can also convert a Smart Object into a layer. You may want to do this if you need to paint on your artwork. Follow these steps to make the conversion: 1. Select your desired layer in the Layers panel. 2. Choose Layer➪Rasterize➪Smart Object. Your Smart Object is rasterized at its current size, so be sure it’s the size you want before you execute the command. Your Smart Object icon disappears, and you’re left with a normal, run-of-the mill layer. Creating one Smart Object from another Sometimes, you may want to use one Smart Object as the basis for another. Depending on your needs, you can keep the new Smart Object linked to or unlinked from the original. If it remains linked, modifying the original auto- matically modifies the duplicate. If unlinked, you can modify the original without changing the duplicate. In addition, you’re free to change the dupli- cate without worrying about affecting the original. Follow these steps to create a Smart Object from another: 1. Select the Smart Object layer in the Layers panel. 2. Create a duplicate Smart Object that’s linked to or unlinked from the original: • An unlinked object: Choose Layer➪Smart Objects➪New Smart Object via Copy. • A linked object: Choose Layer➪New➪Layer via Copy. A new Smart Object layer appears in the Layers panel, as shown in Figure 5-6. You can also drag and release the Smart Object layer over the Create a New Layer icon at the bottom of the Layers panel. This action creates a duplicate Smart Object that’s linked. Editing Smart Objects 453 Book V Chapter 5 Smart Objects Working with Figure 5-6: You can duplicate a Smart Object and either have it linked to or unlinked from its original. Editing Smart Objects One of the great things about Smart Objects is that you can edit the con- tents, or source data. If the source content is a vector-based PDF, AI, or EPS file and was prepared in Illustrator, it opens in that program. If the source content is raster-based, a Camera Raw file or a vector file (like a shape layer) and created in Photoshop, the file opens in Photoshop. (For details on vec- tor versus raster images, see Book II, Chapter 1.) Follow these steps to edit the contents of a Smart Object: 1. In your document, select the Smart Object layer in the Layers panel. 454 Editing Smart Objects 2. Choose Layer➪Smart Objects➪Edit Contents. Or you can simply double-click the Smart Objects layer thumbnail in the Layers panel. A dialog box appears, telling you to save your changes and save the file in the same location. 3. Click OK to close the dialog box. The Smart Object opens in the program in which it was created, either Illustrator or Photoshop. 4. Edit your file ad nauseam. 5. Choose File➪Save to incorporate the edits. 6. Close your source file. 7. Return to your Photoshop document, which contains your Smart Object. If all goes as expected, all instances of the Smart Object are updated. For example, my butterflies went from purple in Figure 5-6 to blue in Figure 5-7. Replacing contents When replacing the contents of a Smart Object with new contents, you auto- matically update all instances of that Smart Object in your document, which can be a real productivity enhancer. Just follow these short steps: 1. Select the Smart Object layer in the Layers panel. 2. Choose Layer➪Smart Figure 5-7: The Photoshop document Objects➪Replace Contents. automatically reflects any editing you do to your Smart Object. 3. In the Place dialog box, locate your new file and click the Place button. 4. Click OK if you’re presented with a dialog box, and the new contents pop into place, replacing the old contents, as shown in Figure 5-8. All instances of that Smart Object are also updated in your document. Editing Smart Objects 455 To replace the contents of a single Book V instance of a Smart Object, you Chapter 5 have to make sure that the Smart Object isn’t linked to other Smart Smart Objects Working with Objects. To create an unlinked Smart Object, select the Smart Object instance you want to change, choose Layer➪Smart Objects➪New Smart Object via Copy. Make your desired replace- ment and then delete the original Smart Object. Exporting contents You can export your Smart Object and save it to a hard drive or external media. Photoshop exports the contents Figure 5-8: I replaced the contents of of your Smart Object in its original my blue butterflies with that of a rarer placed format, such as JPEG, native species. Illustrator (.ai), TIFF, PDF, and so on. Follow these steps: 1. Select the Smart Object in the Layers panel. 2. Choose Layer➪Smart Objects➪Export Contents. 3. In the Save dialog box, navigate to your destination and click Save. If your Smart Object was created from layers, it exports in the PSB for- mat. Remember, you can open the .psb file only in Photoshop. It won’t open in another program. The last command in the Layer➪Smart Objects submenu is Stack Mode. Unfortunately, this command is available only in the Extended version. People in the science, forensics, medical, and pro video fields are probably thrilled over its capabilities. How about the rest of us? Well, using image stacks can help to decrease the noise in your images across multiple expo- sures. In this case, noise can be defined not just as the grainy or wavy little artifacts throughout your image, but also anything that you don’t want in the picture — cars, birds, annoying people walking in front of your scenic shot. If this sounds like something worthwhile for your workflow, it may be worth checking out an upgrade. 456 Book V: Working with Layers Book VI Channels and Masks I f you have the basics down and are ready for something a little more challenging, this is your book. Here, I help you start working with channels and creating masks. Creating masks is one of the most accurate ways to make a selection and is especially useful in tackling more difficult selections. In this book, I show you different ways of creating a mask, from quick masks to layer masks to chan- nel masks. If you’ve ever flung your mouse or sty- lus pen in frustration because you couldn’t select the hair on your loved one’s photo, you’ll be well- served by reading this book and getting up to speed on masking techniques.
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