Smart Objects and Sharpening
So today is all about smart objects, some are objects, one of those gloriously amazing features in photoshopped that are really difficult to wrap your brain around. So today we're going to de mystify them and hopefully around four pm today you will be sold on smart objects and you'll be incorporating them into your workflow for ever after. But before we get started, I was like to invite you, teo, connect with me on a couple different things. My website is photo lisa dot com lisa, there are riddles and jobs that tutorials on there, so I hope that you take advantage of those you can fire me an email, at least a little lisa dot com connect with me on twitter at at photo lisa noticing a theme here and if you're on facebook, I hope you will try it on over to my fan page at facebook dot com slash photo lisa and if you click the like button and you get to download a free two page cheat sheet on photo shop first of elements and I photo also, we've got a great deal from my publisher, o'reilly, ...
on all of my books and if you want to take advantage of that deal, goto o'reilly dot com and you'll get forty percent off the print versions of these books and fifty percent off the books that's an especially good deal on this photo shop books because those things were about a thousand pages so it's a really great deal so thank you, o'reilly so to get the discount, you're going to enter the code off d a t h d at checkout and again that is on o'reilly dot com so let's talk about smart objects I want to take just a few minutes to discuss what they are smart objects really are like containers that you can put a slew of different file formats into and when you do that photoshopped remembers a whole bunch of stuff about those files such as its original form and using any super powers that are inherent with that format, such as camera raw files okay, you can edit those non destructively, so if you put a camera raw file in photoshopped document as a smart object, you're a about two clicks away from being able to pop it back open and camera to edit it. Same thing with victor graphics and case of vector graphics are created from points and paths instead of pixels like photos are so if you pop a victor into photo shop as a smart object photoshopped remembers that it's, a vector vectors can be sized infinitely without ever losing edge quality so that's, another great thing when you use smart objects and photoshopped photo shop also lets you resize the content all day long without losing quality basically photoshopped remembers the original size of the filers pixel dimensions, and so long as you don't go too far above that, you can make that image smaller, if larger, smaller, larger, all day long, and you're not going to pixel ate the graphic, ok, otherwise when you're re sizing continually, you can begin to lose information because you're, you know, messing around with pixels there as you're using the transform tool. Another great thing about smart objects is that they allow you to swap out content, so if you can imagine applying a whole slew of effects to one photo let's, say, a rounded edges with a vector mask and maybe a nice dark edge of in yet and maybe a little black in my action, a little cullerton action going on. If you need to apply those same attributes to another photo, all you have to do is swap out the smart object contents and all those things that you did to that original photo will apply to the new one is great way to make photo templates for you photographers out there smart objects also allow you to handle repeat content in a unique way, so let's say you've got your logo in an ad design and that logo appears a couple of times maybe it appears once quite large and then it appears again somewhere else near the bottom of the ad at another small size if he bring those items in as a smart object and duplicate it if you need to change that logo in anyway let's say you need to pop it back, open an illustrator and change the color. Then you can update one instance of it and all the rest of the instances update automatically so that's a really great thing you can also create unlinked smart object content so that if you have an item in your file and you need to bring in another item at the same size again with the same attributes, then you can do that easily by creating an unlinked smart object we're gonna be doing all that kind of stuff today. Another great thing about smart objects is that they let you compress several layers into a single layer onto which you can run filters on filters only run on single layers. You cannot run them on more than one layer at a time, so if you're dealing with multi layer documents and boy happy, we have been all week right? So smart objects allow you to run filters on them as if they were a single item. You can also apply layer styles to a smart object made from many and you can also compress whole photoshopped documents into a smart object for inclusion into another photo shop document. Imagine, if you will that your you work for a magazine company and you have several covers of your magazine, and you need to slip one of those covers of the magazine into another advertisement. Or maybe you want to make it look like somebody's holding your magazine well, that magazine cover maybe a smart object that you popped into another photo shopped document, so they allow you to compress several layers into one to do things like that, and we're going to be going over a whole slew of things today. Last but not least, smart objects let you run filters non destructively, so that's a really great thing, and when you do run a filter on a smart object, you get an automatic layer mask, so that allows you to hide the effects of just the filter from parts of the photo that might not need it. One of the most common in practical uses for that is selective sharpening. So let's say, you've done global sharpening on the entire image, and then you need to come back and apply a little extra sharpening, maybe it's a photo of a pretty girl, and you want to apply a little extra sharp. Going to her lips and a little extra sharpening to the irises of her eyes, maybe the hair, any other thing in the photo that you really want to accentuate the texture in? Then you could go back in, create a smart object out of the original image, and then sharpened selectively and high the scharping using the included smart filter mask so last night not least you can also change the blend mode and opacity of just the filter itself. Okay, so there's that when one of my favorite filters is the lens correction filter but not not what it was not for what it was meant to dio I like he's in it to add a dark edge in yet not destructively on my image is kind of like we did yesterday with big, radiant phil layer, so if you do that on a smart object, you can change the capacity of just the vignette in case you get a little bit too strong. So all kinds of fun things were gonna be doing with smart objects we're going to start out with some of them were simple uses for them were practical uses for them, and as we cruise on through the day, we're going to get a little bit more and more and more complex some of the things we're going to be doing to get you all fired up about it are you fired? It where's my room? I want some run I want run so some of the things we're going to be doing, including a sharpening globally and locally, like I said, we're going to be adding dark edge of and yet we're going to take some of the multi layered files that we've been working with all week, and we're going to create beautiful oil paintings out of them. I'm gonna show you how to run filters on video, we're going to create that highly cartoony or pasta rised a scanner darkly effect. We're going to turn a wedding video into a painting, we're going to do all kinds of fun stuff, then we're going to look at how to run layer styles on multiple layers after we created smart object to share with you a logo that I made for one of our mac texas work cos in boulder, colorado, then we're going to look at swapping smart object content instant photo templates. After that, we're going to start embellishing photos with some vector artwork, which is a lot of fun, and it mixes the rial with surreal for an interesting artistic like we're going to look at using victor items as a photo frame. Ok, so we're going to push a photo through a vector shape, which is a lot of fun and then the last part of the day we're going to be looking at creating linked smart objects uh we're going to create a picture package, okay, but you photographers can use tow that you already have set up that you can swap in different photos then we're going to take a look at a label template for limoncello and passion cello, the latter of which I just made it and last but not least we're going to take a look at creating unlinked smart objects and we're going to look at actually my twitter page so that is what we have in store for you today ok, so the first thing we're going to do is get out of this keynote presentation and come over here to photo shot you guys will notice that I've been using many bridge much of the week here and that's a fabulous way to open images ok from right there within feather shop you don't have to get out of photo shop, go to bridge or go to another find her window and so on and so forth something came over here to my desktop and we're going to open it the day three files for smart objects so the first thing I want to show you is a few ways toe open smart objects case of the first method we're going to use and, you know, there's six different ways to do it right, because there always is. So we're going to go up to the file menu and choose open as smart object. Ok, then we can navigate to where that file lives. This one is hiding out on her desktop. There we go. And when I bring that file in photoshopped gives me a special badge at the bottom, right of the layer thumbnail, that little icon right there lets you know that hey, this is indeed a smart object. Okay? And one of the superpowers that we mentioned earlier, inherent to smart objects is that you can resize the content without really losing quality because let's say, we need to experiment with the size of this photo in our layout so we might try to up to the edit menu and she's free transform or press commander control t get our re sizing handles and let's say that in this thing that we're creating, we might want to make artal hawaiian hula dude small and then something happens. Our composition changes or what have you and we think, dead government. Now I need to make that photo its original size again, do you need to worry about going and finding it and replacing it? Not if you've brought in is a smart object because remember photo shop is memorizing not only the file format but how big that thing wass so as long as you don't make it honking big, you know way bigger than it originally wass you're not going to lose quality because any time you do keep using free transform over and over and over to resize your arms, you are smashing this pickles around a little bit and you can begin to lose photo quality that way, but not with a smart object ok, so that's a really great thing, so think about them when you need to experiment with the size of whatever it is that you're bringing in another way, tio open a smart object that the way that we just did it using foul open that will open the item in a new document as a smart object. Well, what if you need to place a smart object in and already open document? Well, then you can use the file place command, so we're going to use file place navigate where the item lives when you do it this way foot a shop surrounds the smart object with re sizing handles basically is if you had someone free transform so that's handy if you do need to resize the item so we're going to go ahead and click within our other hula girl here and move her down there. The shop has a one track minds you need to let flu shot know that you're finished with the resize ing, even if you didn't have to resize it and you compress return. You can also create smart objects by clicking and dragging them into your photo shot workspace. I believe this ability came along and c s five, where any time you drag a raster or pixel based graphic either from your desktop or from many bridge up into an already open document photo shop is going to make a smart object out of it automatically. So let's just do that. Now I'll click and drag our other hula girl from many bridge skit her down here press return, and now I've got a document filled with three smart objects you can also copy and paste victors from illustrator canto the illustrator. We're gonna be doing that here in a minute and when you do that footage shot gives you all dialog box saying, hey, hey are stopped in and only get this, it says, hey, I think you're pasting something into my whole work space here that has vectors in it would you like me to pace it as a smart object, pads, pixels or shape player? Yes that's a copy paste from illustrator so we'll look at how to do that you can also open smart out six straight from bridge if you're using adobe bridge that gets installed along with the creative sweeter photoshopped tio important organize your files all right now let's get into one of the most common things that you might want to do with a smart object and that is to sharpen multilayer documents case we're gonna close up our crazy who dude and we'll open up one of my favorite photos and you'll have to watch yesterday's class to figure out why if you just tuned in today so every year in my layers panel let's see what we've got here so we've got our photo layer has got that special badge at the bottom right of its layer thumbnail well underneath here we've got a big old white thumbnail into the right of it is says smart filters what's happened here is I have opened the photo is a smart object and then I have converted it or I've opened it a smart object and then I ran a high pass filter on it for sharpening which is one of my favorite ways to sharpen in doing so photoshopped gave me an automatic layer mask so if I need to hide some of that sharpening from part of the image I can okay so that's what happens when you run a filter on a smart object you'll notice museum a a little bit here so I can skate over to the right you'll notice this funky little icon to the right of the filter name so if you want to feel term smart object you get the mask and then the filter itself shows up beneath the mask kind of like a layer style it's not that this filter is running on its own layer but it's running in a way that you can toggle its visibility often on you can throw that filter away if you needed tio just click and drag the filter name to the little trash can at the bottom right of the layers panel and this whole icon over here to the right lets you get into the filters blending options so for example, if I double click it I've got blending modes for just the filter itself okay, well hard to wrap your brain around that blending options for just the filter herself not the image the filter you've also got opacity control in this filter blending options dialog box and that again is opacity control for the filter itself not the image for the filter so let's say I'll move our preview damn little bit I don't want to excite anybody too much so let's say that you did some sharpening but then after further study the photo you feel like he went a hair overboard with the sharpening do you have to try to end do that heck, no. All you have to do is pop up in the filters blending options and drop the capacity so in this situation we would be dropping the opacity of just the high pass filter. Okay, so let me illustrate that you might think if we went too far with are sharpening you could just drop the capacity of the layer, but that drops the capacity of the image and that's not what you want it all, so we'll bring that back up if I wanted to drop the capacity of just the filter that iran where there is a blurring, filter sharpening filter, some kind of creative stylization, what have you? You can drop it right here. So then I think control exactly how strong that filter is. Now, when I turn preview often on you're seeing the gray overlay of the high pass filter sold you that a second. Okay, so let's, go ahead and start with this. We're going to open our original image and we're going to start out with global sharpening, and then we're going to move on to selective sharpening so global sharpening would be are sharpening that we're gonna apply to the entire image in our local or selective sharpening is the extra amount of sharpening that we apply just to certain areas to further accentuate them, okay, so close this document open our original image now, I will tell you that half the time when I'm doing this, I forget to open the dadgum thing as a smart object like I just did, I just double clicked and it didn't open into a smart object, so if that happens to you immediately, either trauma to the filter menu and choose convert for smart filters that's a method one or tried over here to the right hand portion of the layers panel I mean to the right of the name, pay and control or right click and you'll get a handy little contextual many that lets you convert that adam into a smart object. Those two menu items to exactly the same thing doesn't matter which one you pick, they both creates more object out of the item. Another way to do that is trying to the layer menu chiefs amar objects and convert to smart object but that's like three little clicks or things you had to point out so that's not the most efficient use nine times out of ten I end up just control or right clicking to the right of the layer name and choosing convert to smart object. Ok, but if it's easier for you to remember, if you're going to run a sharpening filter, then you can just ride up to the filter menu and shoes convert for smart filters. So here we have our smart object, right? So now let's run are sharp, any filter, so we'll trot back up to the filter menu and we're going to go down to the other category and choose high past. Now there are several different ways to sharpen in photo shop high pass, in my opinion, is one of the easiest ways because you've only got one setting to mess with in the dialog box that you're about to see. This isn't to say that it's wrong to sharpen with uncharged mask or the smart, sharp and filter hey it's, just my preferred method some to go can click high pass it's funny how that creamy keeps centering on heard of the beauty. So here we are in high past and what we're seeing here, I'll drive the radius down a little bit is photo shop is giving us a preview of all the edges that will be sharpened should we choose to click the ok button? You can use this radius control to determine how much sharpening is applied to those edges. So it's a great way to see physically see the areas in your image that are going to be affected so you can use this little radius control and you can see as I drag it to the lift fewer and fewer edges or showing up okay. As I drag it to the right, more and more edges are showing it rare will be the situation when you will need to increase that radius beyond about three it'll it depends upon the size of the image resolution rather that you're working with how big those pixels are, but I would never raise it above for no matter what unless you are adding some selective over sharpening that you're in a back off of with the layer mask ok, so we're going to go ahead and let this one role at about about teo a little bit of over sharpening, but I won't be able to see the effect of an on screen, so we're going to go ahead and click ok, we've got this wonderful gray image now just real nice, isn't it? But since we have blending mode control within that blending options dialog box for the high pass filter itself, we can fix that so let's, go ahead and click that tiny little microscopic icon I shall wear tooth or don't you think fun of shop should come with a magnifying glass when you buy the darn thing? So where is that? I can't? I can't see it unfortunately there's no way to make those guys bigger so here's our blending options, so from the mod poppet menu, we're going to choose overlay why we're going to choose overlay because the overlay mode has a neutral color fifty percent gray, so if we choose overlay mode anything that's fifty percent gray will drop right out of our image, which means we're going to be able to see the color in her imaging and so go ahead and choose that teo, we can talk all the previous often on which doesn't help us over there, so we'll toggle the preview often on over here in our layers panel so you can see the sharpening so there's the before and there's the after sings that we've applied a nice round of sharpening without having to memorize a slew of settings like you do for a kn sharp mask you've got three settings every under my penis is a little bit more confusing and complicated to use ok, so that is one way to use a smart object let's, do that again, let me show you how to throw it away. We decide that we don't want to apply that particular filter. All you have to do is click and grab it and drag it down to the bottom of your layers panel and it's gone kale and do that let's click within our smart filter mask and I'll zoom in collapsed many bridge and let's say for whatever reason leaps, we want to hide some sharpening from right here we can click within that mask with my foot a shop realm over a little bit press b to grab the regular old brush tool think about what you're going to do in the realm of the layer mass black conceals and white reveals so you need to take a peek at the color it's the bottom of your tools panel it's a densely I'm running with a two column tools panel and I made that happen by clicking that tiny little set of double left facing triangle's the very top of the tools panel so you go from single column to to colin someone she got black is your foreground colored ship and you've got a nice soft brush picked from the color picker you just need one of these guys that has the soft icon then you can come over here and change brush size if you need tio right bracket key goes up and brush size the left bracket key goes down and burst size and the bracket keys air right next to your peaky for kate pearson of the b fifty two yes, I got to meet her last week I sure did she came to the boulder theater the b fifty two's play there they are amazing they were absolutely amazing so as you can see here I'm painting and I am hiding the sharpening and we didn't even have to add the layer mask pretty sweet ok so let's have a go at this on another image we're going to open up our pretty girl here and this time you can see that I've done quite a bit of painting over here uh and I used on sharp mass for this one that's because I've already applied around of scharping to that smart object, so this on sharp mask part is my selective sharpening I'm going to go ahead and double click the smart object so I can expand and photo shop is going toe let you see the original layer with the original round of sharpening so what we're doing here is we are creating a smart object out of a smart object in order to sharpen again the first time you do this for the shop will kind of squawk it you and say, hey, I notice you're about teo doubleclick a smart object which means a temporary photoshopped document is going to open up with your original layers in it came and it's letting us know that you cannot choose file save as when you make your changes to save them in a different place that we need to just choose file save after we make some changes to the original layers otherwise photo shop will not be able tio update our changes in the original document here I know that sounds a little cryptic, but well we're going to watch it happen here and then we're going to do it again together a couple of more times and if you see this morning once and you've really gotten the message, then you can click the don't show again button, and you won't see it again, so when I click, ok, look what I've got here, there's my original sparred object and there's my high pass filter. This is where I did my global sharpening. Then I created a smart object out of this, and I added another round of sharpening selectively, ok, so we're going to do that. So if I close this document, I come back to my other document and I'm going to go ahead and talk with the visibility eyeball off on the selective or local sharpening so you can see what I did so there's the before, with only the global sharpening, visible and there's the after. So I added an extra round of sharp into her hair in these little beads of sand and water, a little bit to her lips and a little bit to the iris of her eyes. Okay, so that's, what we're going to do next, so go ahead and close that here's our original image. Okay, if you forget to open it as a smart object immediately tried up to the filter menu and choose, convert for smart filters or choose file open as smart object or if you're dealing with another photo shop document that you want to pop this photo into, then you can use the final place command are just click and drag from bridge many bridge panel into you're gonna shop, document so let's, go ahead and convert her for smart filters. Now we're gonna run our high past filter for global sharpening so filter other high pass set the radius, according tio. How much sharpening you want to apply again? You're never going to want to go over four you're probably going to end up around three or a little bit less for most images. We'll go ahead and let this one roll a little over two so you can see the effects press ok immediately, come over here to your layers panel and double click the icon that appears to the right of the high pass filter. Change the blend moto overlay, because that's going to make grade disappear and click ok, so here's our before and here's our after you can see it mostly in her hair. Now, let's, make a smart object out of this smart objects is called nesting smart objects, so we can do in a couple different ways. We can control our right, click to the right of the layer name and choose, convert to smart object hey, or you can trying to go back up to the filter menu, but since we've already used this menu, command and it's, a smart object already photo shop doesn't want to let us converted for smart filters and yen so it's best just to go ahead and in control or right, click near the layer name. Now, I'm being a little bit persnickety about where I'm telling you to click and that's for a dad gum good reason, because if you control or command, click on the layer thumbnail, you don't get the same options so that there is no convergence smart object menu over here. So that's, why I'm being very specific of where I tell you to click, and it is good to get into the habit of being cognizant of where you're clicking on the layers in your layers panel, so we'll control or right, click to the right of the layer name just anywhere in this area, right here, and we get the menu in which we can use to convert to a smart object, so let's, go ahead and choose that. So now we've got another smart object, right? So now let's apply around of selective sharpening, so we'll try it up to the filter menu, and this time I am going to use on chart mask, because it's a little bit easier to over sharpen an uncharged mass and it is high pass filter you khun really pump it up a lot and I'm gonna over sharp into a frightening degree and then we're going to back off of it some munchies on chart mask and I'm gonna pump this up. About two hundred fifty were going to set the radius at about four really radius is you telling photo shop how wide you're willing to let that sharpening halo get? And you can see the sharpening halo quite clearly around her little nose, because sharpening really is your accentuating the edges just like he was sharp in a kitchen knife. That's what you're doing here, you accentuating the edge of the knife. You're doing the same thing with sharpening in images hearing photoshopped except that with a kitchen knife it's pretty obvious where the heck that edge is, it's the part that can cut you but in your image it can be difficult to determine where that it is. An edge is really an area where a dark pixel meets a lot pixel. So what is really happening when you're sharpening photo shop is lightning that like picks a little bit and it's darkening the dark picks a little bit to accentuate the edges, making image appear sharper it's really not it's only a sharp is it was in your camera if you over sharpened then you'll be lightning the light pixels where they touch a dark pixel a whole lot and you'll be darkening the dark pixels where they touch a light pixel a whole lot and it will begin to look like you've got a white halo in between the two and you can see that happening right here because I am seriously over sharp but again we're doing it on purpose because we're going to back off of it in that radius just lets you determine what you tell photo shop how wide your willing for that area to become okay, if you go up very much more you will have a sharpening halo that you can see from outer space not good okay, so threshold lets you tell photo shop which pixels to sharpen it works a little bit the opposite as you might think zero is only going to sharpen the pixels that have the highest contrast if you drag that sucker over to the right, they're actually zero will sharpen everything if you drag it to the right, you're going to reduce the contrast of the areas that photoshopped thinks is an edge you're going to reduce sharpening so you won't sharpened as many pixels. Okay, so that's what their shoulders but we're gonna go ahead and leave it set to zero because we want seriously nasty over sharpening click ok, now look what we've got, we've got another mask here so we can come into this mask and fill it with black right too high because black and seals and white reveals so you need to set your foreground color chip to black we have are set to black already but for years isn't press d to put your color chips to the default of black and why and then push x so that black hops on top once black is on top and you have clicked to activate the smart filter mask and you know it's active because it has an extra border around it see like right now the layer content is active now the smart filter mask is active. You want to make sure that that mask is acted before you feel it with black or else you'll be filling your layer constant with black so we'll go ahead and fill it with a keyboard shortcut which is optionally on a mac or pc on all pc all back space on the pc. And now we have hidden the extra round of sharpening. So now we can go back in with the regular old brush tool set to paint with white, so we'll press b to grab the brush tool, take a peek at our color ships black conceals white reveals we want to reveal some sharpening, so we're going to press x to flip flop our color chips so that why does on top we're going to pop up to the options bar make sure we've got a soft edged brush then we're going to zoom way into our image by pressing command or control plus and let's begin revealing some of that extra sharpening on portrait I love revealing extra sharpening on lips because it looks like you're giving their my coat of digital lip gloss now this is overdone remember we're going to back off the opacity so let's reveal the extra sharpening on her lips come over to her eyes I'm using the space bar to move around within the image and we're going to let the extra sharpening reveal itself on her irises and if you're getting paid by the hour, I highly recommend revealing the extra sharpening on individual eyelashes. If we were doing this for real, we would soon even farther in to make sure that we're not revealing the sharpening on the areas that don't need it. We only want to reveal it on her eyelashes. I would also do a little extra sharpening on her eyebrows just areas that you want to stand out make sure you're painting with white to reveal so we're accentuating the texture on areas that are important to us. So depending upon what you took a picture of let's say you took a picture of calderon she's got a pretty straw hat on you might want to accentuate the texture of that hat okay, or pet photography might want to accentuate the texture of the for pay. So now I'm gonna reveal extra sharpening on her hair and one of the reasons we over sharp and so much because it makes it easier to see the selective sharpening as you're revealing it now, when I let the extra sharpening be revealed on that strand of hair, but I want to see men and make sure that I don't reveal the extra sharpening on the skin area that's between that hair. Okay, we'll call that good. And just like yesterday, when we were lightning wrinkles with our empathy, adjustment layers set to screen mode for lightning, remember when we took the brush capacity down a little bit? Tio let us have a build effect so we could keep pitting breast strokes over and over the same area to gradually reveal that that's what I'm going to do on her arm here, because I want to reveal some of the sharpening, but I don't want to reveal as much on her arm. I want you to see the grains of sand in the water droplets and a little bit of the texture of her skin, but I don't want that to be revealed as much as the hair in the irises and the lips and eyebrows and so on and so forth, so what I'm gonna do you is get a larger brush by pressing the right bracket key and then we're going to pop up to the options bar and we're gonna drop that capacity by about eighty percent here, so we're going to go to twenty percent my sister random number used what looks good to you and now as we paint across those areas with why I'm building the effect and you can see over here in my layer mask, I'm actually laying down great pain okay? So that we can come down here and reveal a little bit of the extra sharpening in her arm so here's our before here's our ass after now to back off of that effect a little bit me skit overseeing a c all of her hair now let's, come down here and let's double click that icon to the right of the filter name in your layers panel, so give it a swift double click and using the opacity control you can drop that selective sharpening down to something that looks more natural t say fifty percent or whatever that looks good to you it's okay for the image to be a little too sharp on screen because if you're going to print that thing that the process of printing is going to soften it a little bit that's just the way ink on paper works so it's okay if it looks a hair overdone on screen so now, if we say this document by choosing file, save as we're going to make sure to choose photo shop as the format, so that we keep all of our wonderful layers intact. So I'm just going to tell photoshopped. To slap this one on the desktop will call this selective, sharpening sharpton. Example. Press save. Close this, baby it.