Many people, understandably, think of Adobe Bridge as a visual file browser, and of course, that’s its strength. But thanks to the Output module, Bridge also offers some interesting design possibilities. In this example, we’ll use Bridge to create both a filmstrip of images and a mosaic.

1 SELECT PHOTOS IN ESSENTIALS VIEW
In the Essentials module of Bridge, navigate to the folder of images you want to use and select the photos you want to include in the filmstrip. You can either simply select them, or label/rank them.

2 SWITCH TO OUTPUT MODULE; CHOOSE PDF
With the photos selected, switch to the Bridge Output module: Window>Workspace>Output or click on the Workspace drop-down menu (down-facing arrow at the top just to the left of the Search field). You can also click on the double dotted line to the left of the Workspace menu and drag to the left to display the main workspaces, and then just click on the name of the workspace you want to use.

3 SET DOCUMENT SIZE
Click on PDF at the top of the Output panel. In the PDF options, go to the Document settings and enter values for the Width and Height of the document. As we want to create a filmstrip of photos, the document has to be very wide and not very high. Based on the number of images, we guessed at 12×2″ (as you’ll see, it’s okay to guess, because we’re going to be working with a preview). You also enter the Quality (resolution): for this example, we used 150 ppi.

4 SET LAYOUT OPTIONS; REFRESH PREVIEW
In the Layout section, enter 10 for the number of Columns (because we have 10 photos) and 1 for Rows. Leave everything else at zero, press the Refresh Preview button, and a preview will be generated based on the information you’ve entered. Once the preview is finished, you can alter any values and press Refresh Preview again. For our example, we added a small value (0.13 in) for the Horizontal spacing.

5 TURN OFF OTHER OPTIONS; SAVE AS PDF
In this example, we don’t want Filenames, Page Numbers, Playback options, or Watermarks, so make sure all of these are turned off (no checkmark) or set to None. After Refreshing Preview one more time just to be sure, press the Save button at the very bottom of the panel, name it appropriately, and click OK.

6 PLACE PDF FILE IN PHOTOSHOP
In Photoshop, open or create a document, and then use File>Place, navigate to your PDF file, and click Place. In the dialog that appears, choose Page rather than Image, and click OK. Use the transform handles to resize the placed graphic, if necessary, and press Return (PC: Enter).

7 ADD A LAYER BELOW; FILL WITH BLACK
Press Command (PC: Ctrl) and click on the Create a New Layer icon at the bottom of the Layers panel to add a layer below the filmstrip layer. Using the Rectangular Marquee tool (M), make a selection a little larger than the “filmstrip,” adding some extra space above and below. Press D to set your Foreground/Background colors to their default Black/White and press Option-Delete (PC: Alt-Backspace) to fill the selection with black.

8 START CREATING FILM SPROCKETS
Add a layer above the black layer, and grab the Rounded Rectangle Shape tool. Press X to switch your Foreground color to white, make sure the Shape tool is set to Fill Pixels (the third icon in the Options Bar) and that the Radius value (for the rounded corners) is 2–3 px, then click-and-drag to create the first sprocket. Hold down the Command (PC: Ctrl) key and click on the sprocket layer’s thumbnail in the Layers panel to load it as a selection. Using Free Transform in copy mode (Command-Option-T [PC: Ctrl-Alt-T]), hold the Shift key and click-and-drag the sprocket to the right, leaving a space between the sprockets.

9 FINISH CREATING THE FILM SPROCKETS
Press Return (PC: Enter) and then Shift-Command-Option-T (PC: Shift-Ctrl-Alt-T) repeatedly until your sprockets are all the way across. Command-click (PC: Ctrl-click) the layer to select all the sprockets. Using the Move tool (V), hold down Shift-Option (PC: Shift-Alt) and drag a copy of the sprockets to the bottom of the filmstrip. Command-click (PC: Ctrl-click) on the sprockets layer to load both rows as a selection, click on the black box layer to make it active, and press Delete. You can now drag the white sprocket layer to the Trash icon in the Layers panel. Press Command-D (PC: Ctrl-D) to deselect.

10 CREATE A SMART OBJECT; APPLY SMART FILTER
In the Layers panel, select the black box layer and then Shift-click the photos layer so both layers are active. Right-click on either layer and from the menu, choose Convert to Smart Object. Then go to the Filter menu, and choose Distort>Wave. Take advantage of the preview in the Wave dialog to enter settings to apply a slight curve to the filmstrip, then click OK.

11 VARIATION: MOSAIC OF MANY SMALL PHOTOS
Bridge Output can also be used to create a mosaic of many small photos. First, go back to the Essentials module and choose a folder with many different photos, ideally containing many different colors. If you wish, you can filter the results—in this example, we used only JPEGs in landscape orientation. Press Command-T (PC: Ctrl-T) to show only the thumbnails and get an idea of what you’re going to get. (You may wish to drag files around to change the order.)

12 EXPERIMENT WITH SETTINGS AND REFRESH PREVIEW
Switch to the Output module and experiment with the settings. Because we had 140 photos, we chose a layout of 14 Columns and 10 Rows, with a document size that forced the images to be small with very little space in between. (This is an example of where you can take great advantage of the Refresh Preview button.)

13 OPEN THE PDF AND CREATE A PATTERN
Save the PDF file and open it in Photoshop. Under the Edit menu, choose Define Pattern, naming the pattern if you wish.

14 APPLY AS PATTERN OVERLAY
Now we can apply the pattern in different ways: Either by using the Edit>Fill command (to fill with the pattern at the size you created it) or with the Pattern Overlay layer style. Here, we created a Text layer and used the Pattern Overlay—click the Add a Layer Style icon at the bottom of the Layers panel, choose Pattern Overlay, and select your new pattern in the Pattern Picker—to add the mosaic pattern at 50% of the original size.

(Tip: Why you’re still in the Layer Style dialog, you can click-and-drag inside your document to reposition the pattern.)

ALL IMAGES BY DAVE CROSS UNLESS OTHERWISE NOTED

1 PREPARATION IS EVERYTHING
Your chances of success in a project like this will depend on the work you do up front. You need good, consistent lighting of the green screen, some distance between your subjects and the background to avoid shadows, and all the portraits should be framed in a similar way. Also, keep your graphic elements in a specific folder. For our example we’re going to use a series of “karate kids.”

2 CREATE A LAYERED BACKGROUND DOCUMENT
We’re going to automate the steps of putting these kids onto trading cards, so first we have to create the graphic elements for the card. Create a new file (File>New) for your trading card that matches the size and resolution of your green-screen images. Add each element on a separate layer to your card document so you can edit the results later, such as changing the name for each child, etc. Start by adding all the elements you want, even graphics that eventually will appear in front of the photo (overlays).

3 CREATE SEPARATE DOCUMENTS FOR OVERLAYS
We need to create separate documents for the overlays. Click on the Eye icons in the Layers panel to hide every layer except the overlays. We’ll start with our red border and the white graphics: Make a selection of the bottom third, Edit>Copy Merged, File>New, click OK, Edit>Paste, and Save this as a layered document. Then do the same thing for the other overlays. In some cases, such as the name banner, you can select both layers (the text layer and banner layer) by Shift-clicking them in the Layers panel, duplicate them (Layer>Duplicate Layers), and select New in the Document drop-down menu in the Duplicate Layer dialog and then Save the new file.

4 START RECORDING THE ACTION
Open one of the green screen documents. In the Actions panel (Window>Actions) click on the Create New Action icon at the bottom of the panel and in the dialog, name the action, and if you wish, assign a keyboard shortcut. Click the Record button to start recording the action. (You’ll keep recording until Step 9.)

5 LAB MODE; DUPLICATE a CHANNEL
First change the image to LAB mode by going to Image>Mode>Lab Color. Then click on the Channels panel (Window>Channels) and duplicate the a channel by clicking on it and dragging it onto the Create New Channel icon. (This new channel should be called “a copy.”)

6 RGB MODE; FILL THREE TIMES IN OVERLAY
Use the Image>Mode menu to change back to RGB Color. The “a copy” channel should still be active. From the Edit menu, choose Fill, then in the dialog, choose White from the Use menu, Overlay as the Blending Mode, and click OK. Now use Edit>Fill again, but this time change the Use menu to Black (the Blending Mode should still be set to Overlay). And one more time, use Edit>Fill with Black in Overlay mode. This should create a very good mask (if it needs tweaking, don’t adjust it at this time).

7 UNLOCK BACKGROUND; MAKE LAYER MASK
Press-and-hold Command (PC: Ctrl) and click on the “a copy” channel to load it as a selection. Now, click on the Layers panel tab, hold down Option (PC: Alt), and double-click on the Background layer to unlock it. Click on the Add Layer Mask icon at the bottom of the Layers panel to add a layer mask to Layer 0 (the former Background layer).

8 PLACE CARD BACKGROUND AND REPOSITION
Click on the layer thumbnail to make it active, then from the File menu choose Place. In the Place dialog, navigate to your main card background document and click Place. Press Return (PC: Enter) to place the card background on its own layer as a smart object (more on smart objects later). Then in the Layers panel, drag the card layer below the photo layer.

9 PLACE OVERLAYS, REPOSITION, AND SAVE
Use File>Place to import the overlay graphics (one at a time). In each case, press Enter, reposition the graphic in the document, and then click-and-drag to change the order of the layers in the Layers panel. Choose File>Save As and save it as a PSD. Stop recording the action by clicking on the black square to the left of the red recording icon at the bottom of the Actions panel.

10 TEST YOUR ACTION
Before running a batch action on many images, try your new action on one or two photos. Open a green-screen photo, click on your green-screen action in the Actions panel, and click the Play Selection icon (or press the F-key, if you assigned one to your action).

11 RUN A BATCH ACTION
You can run a Batch action either from Adobe Bridge (where you can see and choose your images) or File>Automate>Batch (where you choose a folder). In the Batch dialog, choose your Action and the Source for the files (Bridge or Folder). Then, click the Choose button under Destination and select a folder for the results of your Batch (we created a new folder called “After”). Check the Override Action “Save As” Commands box to save the results as PSDs, but in your destination folder. Click OK to run the batch.

12 EDIT THE BANNER NAMES
You’ll end up with a folder full of PSD versions of the cards, one for each player. To edit their names, open the document and double–click on the Smart Object icon on the overlay layer containing the banner. This opens the document with the original text. Just edit the text, Close, and Save, and it will update in the document for that player.

13 EDIT OTHER ELEMENTS, IF NECESSARY
When you Place documents into a Photoshop document, they appear as smart objects, which means that although they appear as one layer, you can still access all the individual layers within that smart object by double-clicking on the Smart Object icon. So you can make changes on any element just like we did for the name in the previous step. When you’re done, just Close and Save the document, and again it will update in the document for that player.

14 TWEAK THE RESULTS
In an ideal world this green-screen action would work perfectly but there will always be some exceptions; so be prepared to edit some documents by tweaking the layer mask. You may need to paint on the mask to get the result you want, or if you see a slight fringe of green, use the Masks panel and the Refine Mask dialog (click the Mask Edge button in the Masks panel). Still, it’s much much faster than manually extracting each player!

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1 [WHITE BACKGROUNDS WORK BEST]
Like many techniques in Photoshop, this one will be easier if the photo you choose is on a white background. We’ve chosen this istockphoto.com image of a leaping dancer. (Toward the end of the tutorial we’ll look at what’s involved if the background isn’t white.)

2 [FIND SOME SPLASH PHOTOS]
A quick search of “splashes” and “paint splashes” on istockphoto.com provides a bunch of nice splashes. We chose this one of red paint because it gave a good solid surface to work with, even though the color isn’t right. (See the variation at the end for working with water splashes.)

3 [DRAG-AND-DROP]
Drag-and-drop the splash photo onto the photo of the dancer. (For the purpose of illustration only, we added a stroke to the splash layer so it’s easy to see here; but the stroke’s not necessary).

4 [FREE TRANSFORM; LOWER THE OPACITY]
With the splash layer active, press Command-T (PC: Ctrl-T) for Free Transform. Rotate and scale the splash so it matches fairly closely with the dancer’s leg (as shown). Press Enter (PC: Return) when you’re satisfied.
Tip: Many times it’s easier if you temporarily lower the Opacity of the layer slightly in the Layers panel so you can see the leg underneath. After transforming, return the Opacity to 100%.

5 [ADD A LAYER MASK TO BLEND THE SPLASH]
With the splash layer still active, click on the Add Layer Mask icon (circle in a square) at the bottom of the Layers panel. Then, with the layer mask active, use a black, soft-edged Brush (B) to paint and blend the splash into the leg. Note: Depending on the angle of the foot, you may have to use the Clone Stamp tool (S) to clone out areas of the foot on the Background layer.

6 [ADD A LAYER WITH A COLORED SHAPE]
Click on the Create a New Layer icon at the bottom of the Layers panel to add a new layer above the splash layer. Now select the Lasso tool (L) and make a rough selection that’s larger than the splash. Use the Eyedropper tool (I) to sample the color from the dancer’s pant leg, and press Option-Delete (PC: Alt-Backspace) to fill the selection with that color. Then, press Command-D (PC: Ctrl-D) to deselect.

7 [CHANGE BLEND MODE; DODGE AND BURN]
Change the blend mode of this layer (Layer 2) from Normal to Color in the Layers panel, and the color of the splash should match up very nicely with the dancer’s pant leg. You may need to create a clipping mask to ensure that the color only affects the splash. To do this, hold down Option (PC: Alt) and click on the line between the splash layer and the color layer. Double-click on the layer’s name and rename it “gray.” To add to the realism, use the Burn tool to darken areas of the splash slightly and the Dodge tool to lighten areas so the colors match the pants better.

8 [REUSE THE SPLASH WITH WARP]
We’re going to reuse the same splash on the dancer’s hand, but we’ll make it look different. Drag the splash layer onto the Create New Layer icon and rename the original layer “foot” and the duplicate layer “arm.” With the arm layer active, use Free Transform to position, scale, and rotate it. With Free Transform still active, click on the Warp icon in the Options Bar. Use the Warp handles to make this splash fit his arm but look different from the original, then press Enter (PC: Return).

9 [CHANGE COLOR OF ARM SPLASH]
If you had the gray layer clipped, you’ll lose the clipping mask when you copy the splash layer. If you need the clipping mask, duplicate the gray layer, drag the copy above the foot splash layer, and clip it again. Next, make the top gray layer active, and Command-click (PC: Ctrl-click) its thumbnail to select it. While holding Option-Command (PC: Alt-Ctrl), click inside the selection and drag it over the arm splash. This duplicates the colored shape we created in Step 6, changing the color of the arm splash from red to black.

10 [CLONE AND MASK ARM SPLASH]
Finally, use the Clone Stamp tool to add some additional small splashes. Also note that the layer mask was duplicated as well when we made a copy of the foot splash in Step 8. Paint on the layer mask using black to hide areas of the splash and white to reveal areas.

11 [IF YOUR BACKGROUND ISN’T WHITE]
If the background of your original photo isn’t white, the splash will have a very noticeable white box around it after you drag-and-drop it onto the dancer image. Double-click on the splash layer to the right of the layer name to open the Layer Style dialog in Blending Options. Click on the white triangle under the This Layer slider in the Blend If section and drag it to the left slightly (ours is 213) to remove the white. Hold down Option (PC: Alt) and click on the triangle to split it and drag the left side to the left (90 here) to make a cleaner transition. Click OK.

12 [ADD A LAYER BELOW AND MERGE DOWN]
To remove the white permanently, add a new layer below the splash layer, click on the splash layer, and press Command-E (PC: Ctrl-E) to Merge Down. Now the white box is gone (rather than hidden).

13 [VARIATION: WATER SPLASH]
You can use the same concept using translucent splashes such as this colored water. All the steps are the same: Drag-and-drop, Free Transform/Warp, and use a layer mask to blend in the splash. We also used the Blend If sliders to remove the white from the splash and added a layer to “cover up” part of the dancer’s foot. Since the colored water is semi-see-through, one clipped colored layer in Color mode wasn’t enough so we duplicated the colored layer, darkened some areas, and changed the blend mode to Overlay. To finish, we lowered the Opacity slightly as that created a better color match.

14

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1 CHOOSE YOUR PHOTO

Pick a portrait that offers good contrast—a photo that’s very dramatic and dark probably won’t work as well. I’ve had the best success with straight-on head and shoulder shots, but again, feel free to experiment with all types of photos. For the best results, choose a photo that has a light background (or select the background around the person and make it lighter).

©ISTOCKPHOTO/JOAN VINCENT

2 CREATE VARIOUS TEXT BRUSHES

Create a new document (File>New) in a size that’s smaller than your photo: the specifics don’t really matter. Press D to set the Foreground color to black. Use the Type tool (T) to type several different words in various fonts and sizes (in this case we used a person’s name). One at a time, draw a selection around each word with the Rectangular Marquee tool (M), and from the Edit menu, choose Define Brush Preset. Name each brush in the Brush Name dialog and click OK.

3 SELECT THE SHADOWS AND MAKE A LAYER

Switch back to the photograph. From the Select menu, choose Color Range. From the Select drop-down menu in the Color Range dialog, choose Shadows and click OK. (In our example, nothing in the background was selected. If parts of the background are selected in your photo, see the next step for removing those selected areas.)

Then, press Command-J (PC: Ctrl-J) to copy the selected pixels onto a new layer. Press Command-J (PC: Ctrl-J) to copy the selected pixels onto a new layer. Click back on the Background layer in the Layers panel.

4 SELECT THE MIDTONES AND MAKE A LAYER

Go back to the Select menu and choose Color Range again. From the Select drop-down menu in the Color Range dialog, choose Midtones and click OK. If (as in this example) some of the background is selected, use the Lasso tool (L) with the Option key (PC: Alt key) held down to circle the areas you don’t want selected. Then, press Command-J (PC: Ctrl-J) to copy the selected pixels onto a new layer.

5 FILL THE LAYERS WITH BLACK AND GRAY

Click the Eye icon next to the Background layer in the Layers panel to hide that layer from view. Click on the midtones layer and from the Edit menu choose Fill. Use 50% Gray, check the Preserve Transparency box, and click OK. Then, activate the shadow layer and use the Fill command again, except this time use Black with Preserve Transparency checked. You should have a very basic portrait made from black and 50% gray.

6 FINE-TUNE THE RESULTS AND MERGE DOWN
If necessary, show the original Background (click where the Eye icon used to be) and use the Brush tool (B) to paint with black on the shadow layer, gray on the midtones layer, or use the Eraser tool (E) to completely remove areas. (Note: For gray, click on the Foreground color swatch, enter R:128, G:128, and B:128 in the Color Picker, and click OK.) In this example, we added a little more definition to the ears by painting with gray on the midtones layer. Once you’re satisfied, click on the top layer (the shadow layer) and press Command-E (PC: Ctrl-E) to merge it with the midtones layer.

7 ADJUST BRUSH SETTINGS AND PAINT SOME TEXT

Click the Create a New Layer icon at the bottom of the Layers panel. Press D to set your default colors. Press Command-Delete (PC: Ctrl-Backspace) to fill the new layer with white. Choose one of your custom brushes from the Brush Picker in the Options Bar, and in the Brushes panel (Window>Brushes), click on the words “Brush Tip Shape.” Adjust the Spacing so there’s space between each word. Under Shape Dynamics, vary the size and rotation of the brush. As you paint on the white layer, experiment with the Shape Dynamics. Repeat with your other custom brushes. For now, just get some “text paint” on the layer—we’ll continue painting in a moment.

8 COPY THE PORTRAIT
Create a new layer and drag it above the black-and-gray portrait layer. Press Command-Delete (PC: Ctrl-Backspace) to fill it with white. This will provide a white background behind our image. Hide all the layers except the black-and-gray portrait layer, and then click on that layer to make it active. Press Command-A (PC: Ctrl-A) to Select All and then Command-C (PC: Ctrl-C) to Copy.

9 PASTE INTO A LAYER MASK
Show all layers and activate the layer with the painted words. Click on the Add Layer Mask icon at the bottom of the Layers panel to add a layer mask. Hold down Option (PC: Alt) and click on the layer mask thumbnail (this will hide the painted text and show just the mask). Press Command-V (PC: Ctrl-V) to paste the copied pixels onto the mask. Press Command-D (PC: Ctrl-D) to Deselect. Press Command-I (PC: Ctrl-I) to Invert the mask (your mask should look like a negative of the black-and-gray pixel image that you pasted).

10 CONTINUE PAINTING, VARYING BRUSHES
Activate the painted text layer (not the mask) by clicking on the layer thumbnail, and continue painting using the different custom brushes you created. You can also continue to experiment with the brush settings for Size, Spacing, and Shape Dynamics. (Although you don’t need a pressure sensitive pen for this technique, it sure helps!)

11 ADD A LAYER WITH RANDOM TEXT
The painted text will only appear inside the white and gray areas of the mask. To add a bit more randomness to the portrait, add a new layer above the painted text layer. Then use the same text brushes to add a few words here and there outside the boundaries of the mask.

12 PAINT ON THE MASK IF NECESSARY
If there are areas where you’d like text to appear in the portrait—or there’s text showing where you don’t want it to show—click on the layer mask and paint with a round, soft-edged brush: use black to hide the text, white to show the text, and shades of gray to make the text somewhat visible.

13 VARIATION: ADD A GRAIDENT OVERLAY
Here’s a simple variation: Add a Gradient Overlay layer style to the painted words layer. Just click on the Add a Layer Style icon (fx) at the bottom of the Layers panel and select Gradient Overlay. In this case we clicked on the Gradient thumbnail, and selected the Blue, Red, Yellow gradient in the Gradient Editor. Click OK to close the Gradient Editor, then select Screen for the Blend Mode and click OK. Hold down Option (PC: Alt) and drag the word “Effects” in the Layers panel on top of the “extra words” layer to copy the same layer style to that layer.

14 VARIATION: USE TEXT BLOCKS WITH THE MASK
Use the Type tool to click-and-drag a text box around the entire image. Get a large amount of random text (we used www.blindtextgenerator.com) and paste the text into the text block. Hold down Option (PC: Alt) and drag the layer mask from the painted text layer onto this new type layer to copy the mask. Then, either hide the painted text layer, or use both the painted layer and the new type layer—the possibilities are endless!

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1 PREPARE THE PHOTOGRAPH
First we need to choose and prepare the photograph onto which we’ll add our logo. We chose an image of a blank T-shirt from iStockphoto.com, deliberately picking one that contained noticeable folds. If the folds are a little too subtle, use the Burn tool to darken the shadows a little and the Dodge tool to slightly lighten the highlights.

2 PREPARE THE DISPLACEMENT MAP
The Displace filter uses a grayscale map to distort the imported object, so we need to create a map for our project. First duplicate (Image>Duplicate) the T-shirt photo and then convert it to grayscale. Although it’s not an ideal day-to-day way to make a beautiful grayscale photo, we’ll use Image>Mode>Grayscale to convert the photo (which works just fine for a displacement map). We don’t want too much texture detail in the map, so use Filter>Noise>Despeckle to soften the texture without losing too much overall detail. Save the map as a PSD file.

3 BRING IN THE ILLUSTRATOR LOGO
In Illustrator, keep the logo as editable and possible, then go to Select>All and Edit>Copy. Switch to the original color document in Photoshop and select Edit>Paste. From the four Paste As choices in the Paste dialog, choose Smart Object, and click OK.

4 POSITION AND SCALE THE LOGO
When the smart object appears, use the handles to scale and rotate the graphic. You can also click-and-drag to position it. Once you’re happy, press Return (PC: Enter). (Note: Since the resulting layer is a vector smart object, that means you can always make further adjustments to the size and position of the logo without losing any quality.)

5 CHANGE THE BLEND MODE OF THE LOGO LAYER
To help make the logo look more printed on the shirt, change the blend mode of the logo layer from Normal to Multiply in the Layers panel. Depending on the colors in your design, you may also want to slightly lower the Opacity.

6 RUN THE DISPLACE FILTER
With the logo layer (Vector Smart Object) active in the Layers panel, use Filter>Distort>Displace. In the Displace dialog, enter a value between 5 and 10 as a starting point for both Horizontal Scale and Vertical Scale. Since this layer is a vector smart object, the filter will appear in the Layers panel as a smart filter, which means you can always edit the filter settings (see next step). After clicking OK, you’ll be asked to choose the displacement map, so navigate to the location of the PSD file you saved in Step 2. The logo will be distorted to follow the folds of the shirt.

7 EDIT THE SETTINGS OF THE SMART FILTER
If the logo looks too distorted (or not distorted enough), double-click on the word “Displace” under Smart Filters in the Layers panel. The Displace dialog will appear, allowing you to enter different settings. Once again, after you click OK, you’ll be asked to choose the displacement map.

8 EDIT THE ORIGINAL GRAPHIC
One of the benefits of bringing in Illustrator graphics as a smart object is the option to edit the contents, even after the Displace filter has been applied. Double-click on the Vector Smart Object thumbnail in the Layers panel to jump back to Illustrator. A copy of your logo will open in Illustrator, where you can make changes to the design. Here we changed the color of the background shape and added a second yellow background shape. After saving the Illustrator file, the logo automatically updates in Photoshop, reflecting whatever changes we made in Illustrator.

9 CONTINUE TO EXPERIMENT
Thanks to the vector smart object and smart filter combination, you can continue to experiment with the size, position, and content of the logo. If you reposition or scale the graphic, double-click on the Displace smart filter to reapply it. To change the contents of the logo, double-click on the Vector Smart Object thumbnail to return to Illustrator to edit the file. Or, start all over again with a completely different photographic object….

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