Kim Mackenzie
Forum Replies Created
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In Photoshop, you need Filter > Distort > Displace (only available when you’re in RGB mode).
Here’s a tutorial that explains it in detail.
https://www.photoshopcafe.com/tutorials/dispmap/dispmap.htm
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Are all of your layers unlocked? Guides are drawn within the active layer when created – if the layer is locked, it overrides “Unlock Guides.”
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Welcome, Ryan –
I don’t see your head at the top of the page anymore… ?
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Some filters only work in RGB mode.
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Well, the way stuff comes out of Photoshop, it’s actually a raster image (which is probably that box) being masked by a vector shape. There’s not any other way for the programs to do it, because the effects you’re applying are raster effects – they have to be made up of pixels. So there’s always going to be a box left over.
If you switch to Preview mode (under the View menu), is there a path that corresponds to CASEY? If you drop a shape behind CASEY, is there no white box around CASEY? When I made my test file, that’s how it worked.
If you have a raster image being masked by a vector shape, that’s as far as you’re going to be able to take it.
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Hm. It works for me – shape layers from Photoshop come into Illustrator as vector. Pardon the questions – but do you have the background layer turned off? And the logo in Photoshop is definitely a shape layer and hasn’t been rasterized?
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Oops, sorry – you’d need to add a clipping path to the EPS.
Easier: back in Photoshop, with the background layer turned off or deleted (so you’ll have transparency), save the file as a layered Photoshop PSD and open that file in Illustrator. When prompted, select the option to convert layers to objects.
Once the file is open in Illustrator, to get rid of the crop marks, go to Object > Crop Area > Release – and delete the box that the crop marks turn into.
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These days, Photoshop will work fine. The main thing is (if the job is going on press) is to provide your printer with a file that includes vector data. 300dpi is sufficient for photographic elements, but it’s too low for type. So when you’re done, you’ll want to save a copy as an EPS with the Preserve Vector Data box checked, or a PDF with fonts embedded, to provide to your print shop.
The other thing to watch out for (again, applies to press jobs) is that if you’re setting black type, Photoshop’s default black is a rich black, made up of Cyan, Magenta, Yellow and Black. Not good for type, especially small type as found on a business card. If your design includes black type, manually set the black to 100% black instead of using Photoshop’s default.
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I use the Free Transform tool.
After you type the text, make the Free Transform tool active. With it, click and hold on the top center “handle” of the text box. While holding the mouse button down, press and hold Command (Mac) or Control (PC) on your keyboard. Until you hit this key, you would only be able to drag up and down. With the modifier key held down, you now can drag left and right, giving you the ability to skew the text.
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If you copy the logo into the pasteboard in Illustrator, then paste it into Photoshop, you should get an option for either Pixels, Path, or Shape Layer. If you choose Shape Layer, you can then apply your chrome effect in Photoshop. Save the file as an EPS with vector data included, and open that EPS back into Illustrator.
If your logo is complex, one problem you may encounter is overlapping sub-paths in the shape layer not behaving the way you wanted them or expected them to. Think of a letter O – you expect the center path to knock out the outer path, but it won’t necessarily automatically come in that way. It’s fixable, but tedious – you’ll use the direct selection tool (the white arrow) to select the subpaths that you want knocked out, then in the options bar, choose a different option for how the subpaths interact (subtract/intersect/exclude).