30 Days of Photoshop

Lesson 5 of 45

Preview of Content Part 2: Smart Objects and Paths

 

30 Days of Photoshop

Lesson 5 of 45

Preview of Content Part 2: Smart Objects and Paths

 

Lesson Info

Preview of Content Part 2: Smart Objects and Paths

the way this is going to is always the same way we're always going to adjustment layer and picking an adjustment of just to make a point if I had decided for the sake of argument that what I really wanted to adjust was this part of the photograph if I make a selection first then when I go to for example levels now it's on ly adjusting that area and you'll see what happens is the mask is the same kind of thing it's black is hiding it white is showing it so one of the techniques that I talk about a lot of whole idea of end up with so here's an example of ending up with something I want to make this wall slightly darker but to make sure I see what I'm doing I'm going to make it much darker than I really need initially and then on the layer mask I'm going to take my paintbrush and start painting away I'm painting with white so I'm basically revealing the effects of the adjustment layer and I'll just do a little bit to make a point so it looks like I'm painting with a dark color what I'm re...

ally doing is painting with white on the layer mass to tell photoshopped reveal the effects of the adjustment layer in this area now let's pretend I did the whole thing once I had then I would say okay but now that I've done that I don't really want it quite that dark so let me just pull it back a little bit so now it's still darker but it looks a little more realistic so that's the concept of saying I want to end up with an effect but I want to be subtle but I still want to make sure that I see what I'm doing so because of the edible nature of adjustment layers that means I can go in and say temporarily make it really dark mask it and then pull it back so it's a lot more subtle and that would be I don't want say impossible but next to impossible if you used regular adjustments because with the regular adjustment directly done to this photo then you just have to go undo redo you can't go undo painted back in selectively bi much much harder now the other thing of his touch on really briefly here is if you have a photograph that starts with a raw file like this one is this means when I double click on it it's going to first go to camera and I have my camera ross set up with an option that I highly recommend people use which is open and photoshopped a smart objects what that means is normally if I didn't have that turned on this is the way it would work I would make some adjustments in here I would hit open image it will apply whatever settings I've done in camera raw and basically that's the end of the connection between camera on photo shop so at this point I'm a ziff I've opened a regular old j peg and I continue editing but if I felt like I wish I hadn't done that I want to go back to camera raw in this case my only real option is to close it and start again so instead I turn on this option called open and photo shop as smart objects and what that means and it sounds like it's odd working odd wording says open as smart objects plural but that means from now on all camera raw file should open as this thing called a smart object so what it means is now I can make a bad adjustment not that you would do that but just so you can see what's happening I hit open object it applies the settings it comes into photo shop but now instead of being a regular background layer it's called a smart object this little symbol in the corner tells me this thing is so called smart any time you want to look at the contents of the smart object you double click on it on this case the contents is camera so now I've created a two way street between camera awe and photoshopped so for example let's say when I was trying to make a selection I thought it might be easier if I initially make my photograph look like this not that it would but we'll say it did click okay and then I for example make my selection and once I'm happy with that really complicated selection I double clicked and say what I really want the photograph to go back to these settings maybe something like that when I click okay it updates but preserves whatever else I've done so any time we're faced with the task of adjusting something in photo shop we always have adjustment layers which are great but for a lot of things especially I mean I shoot mostly for myself in raw because I liked the options wrong gives me so by nature when I double click on a file it opens in camera I move sliders and when I click okay it opens in photo shop I could take this document that's in in here in a photo shop and start to do something to it like photoshopped style things but even now I've done that I could still double click on it to say I think I'd like it to look more like this whatever it might be and it will update but preserve everything else I've done that would be harder to do using other photoshopped methods than this so any time you have the ability to a work with raw files and be making a camera ross smart object which just means a two way street between photo shop and camera it opens up a whole world of possibilities for anyone that has photoshopped cc if I were to tell just fake it here and open a non camera robert so if you I have a photo shop see see this is one of the few things that's unique that we'll talk about it here is that if I wanted to create the same kind of thing there is now a filter called camera raw filter which means I connect actually start in photo shop and apply a filter meaning camera normally have to start with the raw file this allows me to start with any layer and edited in camera which to me is one of the best things ever invented because I love those sliders in raw because they're just easier but very powerful so the fact that I could do this to any layer at all now is really really nice so since I have this open actually let me do go back because I don't like the way this looks but make it look not quite so horribly exposed okay so whenever you go to apply a filter in photoshopped generally and this is another reason why I'm sure the person asked a question about duplicating the background layer in the past if I wanted to apply a dramatic filter to this layer but still have the option changing my mind I would have duplicated the background layer like this applied the filter to this one but again all that man was if I changed my mind I could throw this letter away still didn't tell me you blurred this much or you did whatever so instead now we use this whole concept of smart when you say convert for smart filters that means this document this layer is now encased in this protective container called a smart object so that means if I go to do some filter like men in motion blur for the sake of argument over blur it to make a point now you see it actually tells me well you did something called motion blur how much like double click and it tells me if I don't like it I can change it that simple thing right there used to be so much more difficulties in the past if I applied emotion blurred clicked ok on the layer and save the document there was actually no way I could know later on what filter setting I used unless I happen to have not done any motion blur since then maybe I could have but here it's right here in the layers panel so I can even say you know what maybe I went a little overboard I should just not do that at all so I can turn off completely oer and oer I can edit the settings and or aiken lower the opacity so it's less obvious and this is a mask so if I decide I really overall I'm liking where this is heading but I don't like the fact that their faces are master let me go in and paint away the part I don't want the filter applied in certain places so that's in a nutshell why anytime you have the option of thinking should I apply smart filter's not to me the answer is absolutely yes is there any downside to applying a smart filter not that I can think of because it just even there's all these benefits including the fact that if I really wanted to I could apply this smart filter to a different photograph and then tweak the results on that one as well so the whole point of doing all these methods where we're trying to be flexible on non destructive is to make our life simpler and that if that includes doing things in a way where I can edit things and try variations and then we use the same settings and I mentioned this before but I think it's worth noting again a lot of things that I teach are based on having taught lots of session lots of people I remember a lot of people ask this or this is a very common problem people run into and one of the most common things of all that I hear as I mentioned this before his people say I was doing some stuff in photo shop I was playing around I tried some things I love the way it looked and now when I look back and later I have no idea how I did it so if you can do all those experiments but smart filter adjustment layer then you have a record because it tells you you did a filter with thes settings you did an adjustment with these settings and then you can look back at it three months later and go oh right that's how I did it and you can then pull it on another photo and say let me apply the same look to that photo and just tweak it slightly in the past people would look at something and go I really don't know I'm going to guess it was this and they spent another two hours experimenting trying to find the right combination of settings and they still don't like the result okay so here's a couple of other exams I want to show you this one first of all this is where I don't want to make this into a big sales pitch for having a tablet but this is where having a tablet makes a big difference to me this was with the fun photo I thought was kind of fun but I wanted to play on a little bit this is kind of in the realm of what I would call finishing touches so I still wanna open this is an object so even though I'm going to make it look dramatically different in the way it's displayed underlying it I still have I still will have the opportunity to change the way it looks so I'm going to make it look very different from a physic like on screen look but underlying it the colors everything else will still be editable so in order to do that I'm gonna excuse me very quickly make a little brush here so this is the very quick nutshell of how you make a custom brush and photoshopped I'm going to make the world's almost simplest brush on a new document I've just making a big circle and let's fill it on a new layer fill it with black I also want to make the edges slightly soft I'm gonna blur the edges in this case I don't need to do a smart filter because I'm just making decision right now I want my brush to look like this when you define a brush the way it works is whatever is black is the brush whatever is white is see through whatever's gray is my favorite technical term kind of kind of see through kind of not so I just go at it define brush that's it like okay now I can close that because it served its purpose which was to give me this brush to work with now I'm gonna add a lair mask to this whips among love when instructors groups is like having a surgeon goes oops and you're like what so I click on the adl airmass button it first when you addle air mask it displays and white which means I'll show the whole layer now what I want to end up with in this case is some cool effect where the photograph becomes more visible in some areas but not the kind of matches with this kind of fun sixties seventies whatever this era is so to do that it's going to seem weird at first till I kind of walked through the whole thing is it first I'm goingto fill the layer mass with black now when you do that it hides the entire layer which seems like an odd choice why would I hide the entire document well I want to gradually show the photograph the way I going to do that is take my paintbrush I go and find that brush I just created which is the last one right here and it looks like this now if I just painted the paintbrush with white it will say whatever you paint with white I will reveal that part of the photograph and if I painted like this you see ok that's it's okay but it's not terribly interesting so what I want to do is take advantage of some of these crazy brushes I call them crazy because there's so many of them it's just unbelievable so here's my basic brush right now you see it's join me a preview at the bottom I rely on this a lot to see what I'm going to get because join me it's just one big thick brush stroke so if I increase the spacing it turns into separate circles and I decide how much do I want them spaced out I'm going to make the relatively close then I go to this one called shape dynamics and it says you see all these things that's a jitter that's apparently adobe engineering for change overtime which means the longer you do this the more it will change or the harder you press the more it will change so right now you'll see it's a previewing there's quite a difference between the biggest circle in the smallest one I can change that to say I just want a little bit or I want a lot what's the minimum that I want if this was not a circle I could also say angle so that for example it was like maple leafs each one the maple leaf would change slightly and in the class I use maple leaves example and with one brush make it look like a bunch of different colored leaves because of all the settings you can use in here and then in this case I'll just scattering which means you can do multiple brushes the kind of spread out or not this will also change so that to me only because I've done this a few times this preview is giving me a good idea that's kind of what I was picturing and because of the way I want this to work I'm gonna lower the opacity of my brush a little bit so it will be semisi through it first but each brush will kind of pile on top of itself so when you paying to the low capacity it means that semisi through if you paint over the same place it gets more and more available or concede so as I start painting you can see this is the effect that I'm getting and all I'm doing here is I'm varying the intensity of my pressure I want to make sure I can still see her face so I'm pressing harder around where I want to see detail and then later in other places normally if I'm doing this kind of experimentation fairly early on I'm going to add a new layer drag it down to the bottom of my stack of layers and fill it with white because eventually I'm probably going to print this on a white piece of paper so I want to see what I'm getting and sometimes that identifies okay that looks a little odd right there to make sure you're painting on the court here though the on ly thing and I warn people this in the lesson on this is that when you do these scattered type brushes it could be a little frustrating because you can say I want a brush stroke right there and it paints over here because scatter is saying I don't care where you're pressing I'm going to move it around so sometimes you want one like right on her elbow it's like come on there we go it took like five tries but so this is what I a result I've got the layer mask looks like that you see it's got different shades of gray and black but even though overall I'm pretty happy doesn't want to see a bit more of her boot and here so we'll just get that that's a little more like I had mind even at this and our where I think I'm almost done ultimately this is still a camera raw file so I could still double click on it and say I want to see what this would look like if and I edit some other setting like go back and change it make it more vibrant or something else and apparently right now photoshopped decided it will just not do that for reasons unknown because it should based on the way set up but anyhoo normally I'd be able to double click go back to camera and say let's make it more vibrant and just update that's an example I'm creating an effect that's very different than the original but yet I haven't done any damage the original photo is completely untouched so if I decided you know what forget the whole thing throw away the letter mask I'm right back where I was before in previous worlds of photo shop people would have taken a racers and gonna race race race race race to get to this end result and then if someone said oh I love that but just change this one thing you were like because he couldn't just change this one thing because it was gone a race or delete means it's not there anymore and everything is up for experimentation for example here I could say well just out of curiosity what happens if I add a drop shadow toe all these little circles in here and I can decide where I want it in the settings and everything else so here's a little side note I mentioned this in the bud of the sessions on layer style a lot of people when they click on the drop shadow it's almost like this rule that drop shadows must be down into the right and must be black because it's a shadow but my theory is well okay but what if I said I want the shadow to be read and I wanted to be up into the left because you can even this and I'm not in any way suggesting I would leave it that way because I but just to make a point now I click okay and I look at later kind of go you know so I can either turned off or go back and re edit because just another setting so let's pretend from what this project was finished for now the next thing I do is save is a psd because when I look in my folder later I'd see the name of this file dot any f which my original raw file and then the same file name dot psd which I know is this version with all the editing I've been doing so now I have two levels I could go back to your right back the original raw file if I need to but in this case I can also edit all this because of the way I set up this document so when we talk over the next couple of lessons about the whole best practices good work habits this even this is an example where I've made my life simpler by thinking ahead that I want to get to this result of this weird background thing with bubbles or whatever it is but I want to make sure I don't paint myself into a corner where later on I'm like I wish I could well I can change everything I could make this black and white I could delete this complete could apply if I mean nothing I've done at this point has painted me into a corner where at any point have to go so well the only thing that about this that's fairly would be hard to edit would be if the file size was too small because that's one thing that's harder to change he's a vita side later on and I want to make this a poster then and have a bit of a problem because I made it smaller to begin with you can always go from big to small you don't want to go from small to big everything else about this though I could apply smart filters to this toe get some other effect I could've had adjustment layers every single aspect of it is can be edited because I've structured that way so that's a recurring thing that you'll see over and over again and what I trying to show is that everything can be edited and some some fashion if you build it that way so here's an example of something that someone asked me once then they said I wish you could rap text around objects in photo shop like you can in design and my response was a why would you want to but be you kind of can is just not called text rap and he was like what because he went looking for you know where is the thing called text rap and there isn't one but if you think like photo shop and say okay so photoshopped has an option called type and in regular type I can make a block of text and when I do that text will wrap around to the next line so right now I have a giant text against let me just make it a little more reasonable so as I add tax you see it wraps around to the next line like that so that's a standard text block in photo shop is just a rectangle well for a shop also lets you say if I use these things called paths for example if I take the ellipse tool and tell it all I want is this thing called a path you draw a path and now it's just this shape which doesn't mean anything yet because you have to do something to a path but all I do is I take my type tool and I click inside of it and now if we add some fake text you see while it's hard to see because the texas still too big so make it a really small and you'll be able to see that as I do this now it's taking the shape ofthe that that path so if I go on hide the pad you can see all it is is just text inside a shape so I'm showing you this to lead up to the fact that ultimately I can still make it look like text is wrapping around so the way that I do that this is I show this because it's part of my same philosophy thing I want to end up with text that looks like it's wrapping around the shape so the approach I would take that so well I need to make the equivalent of a text block I'll start off with a rectangle but then I'll use my quick selection tool with optional vault which allows me to remove from and I'll take away the kind of outline of this runner and all this extra stuff over here so I end up with a selection that looks like this now if I tried to put type in their first ball wouldn't work but secondly I don't want it going right up against him so one of the ways we khun change selections and photo shop is a command called modify contract and I just this point is a bit of guesswork into saying contracted by say fifteen pixels and now you can see it's still the same shape but it's kind of contracted in so I'm almost there but again you can't put type inside a selection have to put in the path so somehow I have to tell photoshopped turned this selection into one of those past and thankfully it's quite easy you just come over to the pass panel and she was make work path and that means turned this election into a path it has a number called tolerance which means how accurately do you want to get to follow your selection the lowest number you can get to is point five so here's a little side trip every so often like a dialogue imagine you've never seen this dialog box before and for some of you you're probably not a matching it because you haven't but it's just saying some number I think it defaults toe one point oh how do you know what number what rain there's no slider it just it's asking you to put in the number so as a general tip in photos off have you ever faced with the dialogue box and you have no clue whatsoever what's the highest what's the lowest guess and put some ridiculous number like ten thousand when you click okay it's going to tell you no that's too high here's the range so this is the only way in well not the yeah probably is the only way in photo shop to be able to quickly tell so it's asking me to go between point five and ten so now that I know that still doesn't help me know what the numbers do at least I know the range I happen to know that the lowest number point five is very accurate in this case one is probably accurate enough so now I have this path now finally and go back to my type tool click inside and put some text in there just get a bunch of it this is a great fairly new feature and photo shop is the ability to just make fake text like that on a scale that so there we go now it looks like type is wrapping around this is still editable type so I decided I want to change that I could but that path was a simple way for me to say I need to make it look like it's wrapped around because you think about it if you use any other software that your family's like in design it wraps around an object cause it's separate object but in photoshopped this football player is not separate he's part of the background so I can't just somehow indicate wrap around that because there is no that it's just the entire photo so this is how I get to that end result of making it look like the text is wrapping around by going through several steps and then I go through this same session on the are same function in one of the classes where we talk about how we can do type in some different ways this is and let me preface by saying I'm going to go through this fairly quickly because it's quite well somewhat complex without having to explain the whole thing but it's trying to show you when people say why are you such a big fan of smart objects here's why so we're going to imagine for a moment that I am faced with the task of creating graphics they're going to be used on a calendar so for each month I need three letter like you know no oc desk and all the three letter the shorter names off of months but I want some effect so I'll just do it like this so here's one of my little pet peeve about photo shop I mean it's good sometimes it remembers things but currently right now it's remembering that I previously had a type size of two points so I've got the world's smallest calendar type of the moment so we need to make it a little bigger and is another bonus tip putting white type on a white background does not work very well so I need to make it so I can see it okay so let's just do it and we'll use that one since I have it and I'll make it pretty darn big now here's things apple what I was talking about when I kind of mentioned the fact that once you know about this thing called turning here's an example for reasons known only to the person that made this font when you apparently type capital c fall by a capital t they touch each other which is really odd I don't like that so I click between the two of them and do option all right arrow and says I would prefer that not to happen thank you very much so that's turning in a nutshell so now I just have my type player but before I do anything else I want to give myself options so I'm going to convert it to a smart object that's going to protect the type and let me do a bunch of other things to it any time you have one smart object you can then make a copy of that smart object simply by duplicating it so now I have two copies of the same smart object as you'll see later on if I edit one the other one changes so now I'm going to make this blurry because I want this to be like a shadows are going to do a bit of a blur on here and I'm gonna free transform and say but I really want this to be like a good old fashioned cast shadow something like this maybe and then finally I want just not tohave type but I want to have a photograph inside my type so I do that using something called a clipping mask and this allows me to I have a photograph inside type with this nice little shadow now I say this is a psd now when it comes to do the next month rather than starting over again I've kind of set this up and this is what I refer to say that technically photo shop doesn't have an option called template but this effectively is because now I could just do two things say I want a photograph I'm going to use for november all say december so I just tried that in their first so now I've got october with winter in it which is kind of weird but all I do is double click on either one of these two because it's the same smart object twice I double click on either one it gives me the content and now I just say well this should be december I close and save it and both of them update so it's updated the text and the drop shadow and I got my photo so I just keep doing that put in the next photo type in the next month and if we think of this in the context of compared to the alternative if instead everyone I was starting from scratch going well let me make a type player let me think what size it was how was that shadow now I just have to double click change it to different letters you know whatever it is close and save it and then find a new photograph that goes in there and replace that one so the amount of time it's taking you do it is dramatically less because the thought process was how can I set this up to make my life simpler and we could take this to any extent I could put a stroke around the outside of this letter I could make the shadow fade out more quickly or make it semi see through me all of those factors are basically just part of my layer structure but by building this structure that's very non destructive slash editable slash reusable it means I in effect even organised are nowhere in photoshopped do I say save as template I just used the word template because a lot people relate to that say this is like a template because every time I open this document I just have to do two things at it the type put in a new photograph next in each case I go save as so this is my psd file when I'm finished with april I go save as april next save as and that would be my ongoing for each month bring in edit the type bring a new photograph save as next and for a project like this it's I can't even imagine the time you could save by doing it this way as opposed to building each one and try to remember how to do that and how'd I do that is built into this kind of structure so that's why we consider at least I suggests we should consider this kind of approach because ultimate is going to save you time be more productive but then also from a creative standpoint it has the built in ability to experiment

Class Description

Photoshop is an essential tool for all working professionals, no matter what industry. Join legendary Photoshop pro Dave Cross for an intensive 30-day series on everything you need to know about this unparalleled — and often overwhelming — program. Dave will teach one hour every day for 30 days, covering everything from setting goals to expert retouching strategies. Taught in bite-size chunks, this series will help you improve your skills, efficiency, and creative ability. At the end of this intensive series, you will understand basic techniques for every photo editing task, innovative hacks to improve your workflow, and which tools to use (and which ones you never have to learn). In addition, you learn how incorporating a non-destructive workflow will boost both your productivity and creativity. This is not just a passive, sit-back-and-watch class: you will be encouraged to actively take part by completing assignments and participating in live Q&A and feedback sessions. If you want to take your Photoshop skills to the next level, join Dave for 30 Days of Photoshop.


Software Used: Adobe Photoshop CC 14.1

Reviews

Melinda Wong
 

Very good teaching. I really liked how clear Dave was with everything, the order he taught the material, and I thought the stories were very helpful. I REALLY wanted to understand photoshop and extremely thankful for his wisdom and knowledge. Thank you so much! This is what was holding me back from getting my photography started! :) It just seemed so intimidating and now I have a greater understanding.