Transform a shape layer with several groups/paths in another?

Similar Questions

• How to subtract a grunge texture of a layer with several objects?

  Hi all

  I've been struggling with this for hours. Would be very grateful for help.

  I'm trying to apply a vintage texture to some vector illustrations.

  In the screenshot, the work I created is in the layer of "work." I tried to simplify the work as much as possible by using the union, merge, expand, etc. I wanted to do a piece of work, but that seems so simple that I can get it.

  When I try to perform a subtraction on the layer 'work' with the layer of 'texture', basically everything disappears.

  I suspect that it does not work as expected because the layer of my work is always composed of several objects and not a unified object.

  Vintage texture superimposed on the work looks good, but I need this subtraction in vector because I intend to get it printed on a shirt in one color, so I can't get the holes filled with color.

  Any help would be greatly appreciated.

  Thank you!

  Ray

  

  How can I activate art in a single compound path?

  First of all, to unite all paths with the first button in the Pathfinder palette. Then choose object > compound path > make (or press Command-8).

  But don't do it this way. Use an opacity mask.

  If I use the grunge texture as an opacity mask, do I still to transform the art into a single compound path first or I can do to a layer with several objects as if it were now?

  No, you have not; You can keep a complete editibility of your design. You need to just design group firstly, why the opacity mask applies to all this.

  Opacity masks are easier to use if you uncheck "Clip" after their creation. Then, all parts of the mask that is black will be transparent; each part that is white will be opaque, and the things which are shades of gray will be partially transparent. Just like in Photoshop. Right now, your grunge texture is white, so you would need to change to black after making your opacity mask.

• Need help to transform a shape layer in a layer mask blur adjustment

  I understand how to do a blur mask on the image adjustment layer, so it blurs the images below, which is essentially what I'm trying to do, but in this case, I already have the shape layer (or rather imported from Illustrator > converted to a shape layer) and is in a nested composition.

  First of all, is it possible to blur the images of a composition if the adjustment layer is nested in a composition of the child, or the adjustment layer must be in the parent publication; the composition is blurry?

  Second of all, how we simply take a form that they have already created and use that for a mask, in this case, a mask that will blur everything below?

  Forum thanks!

  There are a few things that are not effective in your workflow and your approach.

  Lets talk first about the Illustrator files in After Effects. Firstly, absolutely the only reason you would ever convert a layer to illustrator in a form would be to use animator tools found in the add menu at the top of the shape layer properties in the timeline panel or to animate a Bézier path on this layer. There is no other advantage in converting a vector layer to a shape. NONE.

  Second, if you want to hide an adjustment layer then you can draw the mask directly on the adjustment layer or any layer with transparency, including an illustrator layer, layer photoshop, any hidden layer or layer shape directly on top of the adjustment layer and use this layer with transparency as an Alpha or Alpha reverse cache by approach to the adjustment layer.

  You can use the luminance values of any layer that has no transparency that a luma or reversed hides by luma approach. The white areas offer transparency with luma standard. IOW, if you have a radial with white in the middle and black gradient on the edge and you use a luma matte and white will be transparent on the layer below.

  Standard caches only affects the layer immediately below the source.

  Adjustment effect layers each layer directly under the adjustment layer. Masks and caches can be used to control the effects of an adjustment layer.

  You can also use masks on any layer to control the effect added to this layer if you have a recent version of AE. You will find the option under options to Compositing.

  If you have any layer with transparency or the strong luminance values, you can use Auto Trace to generate a cache for this layer based on transparency or luminance. Any way shape mask or Bézier path can be copied and pasted to another layer.

  We will take your last question now. You should be able to answer. To use any shape you created as a mask, you use this layer as a track matte.

  We will change that approach a bit and assume that you have created a shape layer by using the pen tool or converted an Illustrator layer to a shape. You have a path that you can be found by selecting the shape layer and by pressing twice the key U. find the path you want to copy, rotate options path to reveal animation controls and to set a single keyframe and then copy (Ctrl/Cmnd + c). Even of the forms created with parametric tools like star, ellipse, rectangle can be converted into a path by right-clicking the shape and selecting convert to paths. When you have copied the path put you on the layer where you want to paste the path, select the pen tool to begin to draw a mask, click anywhere on the layer and paste it (ctrl/cmnd + v) and that you have created the mask. This works for forms and masks on any layer.

  Here's a bet to keep everything by copying and pasting masks. The size and position of a path is calculated from the center of the layer and has no relationship to scaling, rotating, or the position of the layer. If you drew a mask on a layer that is resized to 50% and moved to the top right of the comp and rotated 45 ° and then paste this path to any other layer you will NOT get a path in the same position and the same size as the layer sampled in the model. You end up with a path that match if every sampled layer transformation properties have been reset and the layer was at the center of the model and the rotation and scale were normal. You must pay attention to this issue by copying and pasting traces of Bézier.

  I missed a question type. If you nest or call a layer previously and there is an adjustment layer in the main computer it will affect all layers below. If you dial before a layer and a top adjustment layer then only layers in the nested model will be influenced by the adjustment layer.  I replied before but wanted to make sure.

  BE very careful when you watch YouTube tutorials on workflow because a growing number of them is bad teaching techniques and pointing you to the bottom of the dead-end alleys. Make sure you vet your training.

  If you have any other questions the best place to find good community resources is to type a word in the search help field in the upper right of the AE. For example, if you typed layer adjustment or masks, you would find a lot of very good advice on how to use these features.

• Add layer with several layers

  The biggest waste of time for me, when working with layers is when I want to add a new layer that must appear in all compositions of layers. I have to manually go through each layer comp and enable the visibility of the newly created layer, because it is hidden by default. Are there are 20 layers then this really takes a ton of time.

  Is it possible, when you add a new layer in a photoshop document, to have it by default visible in a set of selected layers?

  Thanks for the reply but this isn't what I was asking... My question was about the creation of new layers - and making them appear automatically in several compositions.

  In any case, I think that I figured it me:

  1. first, multi - select layers to who I want the new layer is visible (using shift + click or order in the layer comps palette)

  2. all the layers can create will be visible by default in the selected layers.

• IOS router with several groups of VPN

  Similar to a discussion, I read with a PIX firewall, I need to set up multiple VPN groups on IOS-based router to support different levels of security. For example, a VPN "GUESTS" group would only have access to 1 server, while the VPN "ADMIN" group would have access to the entire network.

  With a PIX firewall, you can simply specify additional group names (for example "group1 vpngroup',"vpngroup group2"and so on). However, I have not been able to find how do with IOS-based router (Cisco 831 12.3 (4) T) running.

  For example, I have these dynamic groups of VPN:

  the crypto isakmp client configuration group of GUESTS

  password1 keys

  DNS 10.1.1.1

  swimming POOL1-IP pool

  Configuration group customer crypto isakmp ADMIN

  key password2

  DNS 10.1.1.1

  POOL2-IP pool

  ! - Users get authenticated to a RADIUS server

  list of card crypto CRYPTOMAP customer VPN-USER authentication

  ! - The problem is that line taken out. "I can only specify an allow list (a group name) for this encryption card!)

  card crypto CRYPTOMAP ADMIN isakmp authorization list

  I did research on this site, Google, usenet and ORC and have not found what I'm looking for. Any ideas?

  Thank you.

  Command 'isakmp authorization list' you do it reference does not refer to the VPN group, it refers to a whitelist of AAA name which States that the groups are configured locally. Change to the following:

  AAA authorization groupauthor LAN

  card crypto isakmp authorization list groupauthor CRYPTOMAP

  The "groupauthor" is just a label that matches the encryption to the aaa command. Your clients VPN will be accompanied to a specific group depends on what group name, they set up in their VPN client.

  See http://www.cisco.com/en/US/tech/tk583/tk372/technologies_configuration_example09186a0080095106.shtml for details, it's a HW 3002 client to a router but the router config is exactly the same thing.

• "Transform each". How each group in a shape layer automatically adapts?

  I have a file HAVE a fish composed solely of points. Hundreds. When I transform a shape layer I want then to each point on the scale of 0%, of the center of each point, NO Center of the whole fish. Basically, what "transform each" made in artificial intelligence. Is there anyway to do that without having to ask a transformation for each group to the inside of the shape layer itself, perhaps expressions or a plug-in or a another method? I made a map of the Australia last week manually and it drove me almost crazy *. And it's only 50 groups.

  The only other way I can think is to do at the start of each point a layer separated in illustrator, which would be a headache, but would be even better than the manual method.

  * the reason of insanity is when you copy / paste the attributes of each group in a form, there's a chance, it will replace the path in this group with one of you copy and paste attributes. I do not have 100% understood the rhyme or reason to this

  If there is transparency between the points and you want to make small just apply effect > Matte > Simple Choker. If there is no transparency, and you can create a cache of luma and, before to compose, then apply Simple Choker.

• Beginner with the pen tool problem: not obvious on any shape layer

  I'm learning the pen tool. I made a line with the pen tool, but now I can't find out what layer it is on, and I can't caress as I wanted. All my layers are turned off and the form appears. However the research through the layers there is no vector layer that contains my line. In addition, I can't touch the line as the line options and filling are greyed out on my table of paths. I have attached a copy of Θcran to explain if all goes well I mean. I use CS2 on Windows 7.

  

  Your Layer palette capture you have no visible layer and targeted in order to trace the path would not be available and gray by Photoshop.  Target a layer visible and you should be able to stroke the path on this layer. Also, you should be able to add a shape layer by using this path of pen.

• Trace a path of shape rather than the ordinary path layer?

  Hello people! So I created a design on Photoshop CS4 using the pen tool. I used the shape layer option. As I used the pen tool and set the anchor and adjusted points all handles, my intuition tells me that I can get back my drawing of the regular shape to paths option layer because they are so similar, no? Once my shape layer becomes a regular path, I want to caress.

  I don't want to start my drawing everywhere, redo the anchor of all points and handles using the path option - I hope you understand what I mean!

  I appreciate any input you guys have to offer!

  Once you make the shape layer, go to the

  paths Panel and save the path, then make a new layer and stroke.

  Or you could shoot as many paths, no shape layer and then save your workpath

  go in the tracks Panel.

  MTSTUNER

• By selecting shape layer slows photoshop

  I have this problem clayers of forms regarding

  Photoshop CC2015 (on a Mac / Yosemite) gives me a spinning wait 2-3 seconds (sometimes more), whenever I do these simple gestures:

  -create a simple form with the tool shape on a canvas layer empty

  -selection of a shape in the tab layer Layer

  -Select a path of shape layer with the direct Selection on the canvas tool

  whenever I interact with a shape on the canvas or in the layer tab layer, I have this wheel that turns 2-3 sec asking me to wait for the next action...

  a big thank you to who can help you!

  OK so I had to uninstall photoshop via menu creative cloud and the removal of preferences when asked and re - install

  works fine now!

• Can I reverse a shape layer?

  When I create a shape layer, of course, the path is closed and the fill is inside the shape. Is there a why to reverse it so that the filling is outside with a 'hole' editable inside?

  You can create a 'hole' by changing the shape option in the options bar.

  First draw the shape of 'hole', then change the option to "exclude form overlapping areas."

  

  Now you can draw the shape for the outside edge - this can go beyond the edge of your document.  the Centre should now appear as a whole.

• Copy path of a shape layer to the layer path again

  I use connect traces on a shape layer to animate the "drawing" of the form. Then I have a still image (my hand) that I want to follow the application of the shape layer.

  In AE, I this today by defining the paths of the toppings, then copy the path of the shape layer.  I go to the layer again, select the position attribute and paste. This deal is still keyframes layer which coincide with the shape animation.

  I thought I could go something on the shape layer and then create keyframes on the layer again. However, I am not sure this makes sense?  Use valueAtTime() on the way to the shape layer?

  Any ideas how I can replicate this workflow to ExtendScript?

  Try this - it might get you up to get the path of the layer shape copied in the position property of the layer of the hand:

  
  

  function deselectAll (theComp) {}

  for (var i = 1; i)<= thecomp.numlayers;="">

  theComp.layer (i) .selected = false;

  }

  var theProps = theComp.selectedProperties;

  for (var i = 0; i)< theprops.length;="">

  theProps [i] .selected = false;

  }

  }

  var app.project.activeItem = myComp;

  deselectAll (myComp);

  var myPath = myComp.layer ("Shape Layer 1") .property ("ADBE vectors root Group").property("ADBE_Vector_Group").property ("ADBE vector Group").property("ADBE_Vector_Shape-Group").property ("ADBE vector form");

  myPath.selected = true;

  app.executeCommand (app.findMenuCommandId ("Copy"));

  deselectAll (myComp);

  myProp = myComp.layer("Hand").property ('Position');

  myProp.selected = true;

  app.executeCommand (app.findMenuCommandId ("Paste"));

  Dan

• How to transform a mask on a shape layer? (CS6)

  I detached the layer mask to the shape layer and ensured that the thumbnail of the layer mask is selected in the layers palette.

  If I do a cmd - t on OSX to transform, Photoshop (CS6) selects the shape layer path to transform instead of the layer mask, even when the thumbnail of the mask is still selected, and even if I have a choice of brand.

  Is this a bug?

  Activate the move (V) tool and activate the option Show transform controls can transform the untargeted mask. By clicking on the small square handle will launch the mode of transformation.

  

  CS6 shape layer is really still the the shape layer pre - CS6 - a fill layer with a vector mask - but with the addition of a stroke attribute. The attempt to disguise as a new special type of layer resulted in inconsistencies, trouble, inconvenience, and deterioration of the workflow.

• Make a group of clipping with a compound path

  So, as of today, I am new to scripting for Illustrator, I use the ExtendScript Toolkit. However, I am not new to my own script solutions and I do not have any experience with JavaScript.

  What I'm trying to do is the following: for all selected items-> duplicate selected item and make a group of simple clipping with it

  What I'm left with visually does not change the picture, but gives me a lot of clipped colored areas that I then can I change in isolated mode, which allows me good shading faster and better. That the doing by hand takes hours on some pictures, it would take a second with a script.

  The script itself is already works for normal PathItems. As evident in the title, as soon as I have to apply the same thing to CompundPathItems things stop working. My question is a bit like this old thread [problem with clipping path transparent], but I couldn't find a solution because I get different behavior.

  When I run the same script that works perfectly with the normal PathItems with CompoundPathItems I get this: 9046 error: the top element in the group must be a path element to create a mask

  Well, it's a problem. There is absolutely no difference between making a clipping with a simple path mask and a compound path in the GUI. Frankly reference guide not helped with this problem at all, the only thing that I learned from it is that the CompoundPathItem object is an attribute of cutting, but those included PathItems.

  Here's what I have so far:

  
  

  	If ([i] selected. TypeName == 'PathItem') {}
  	newGroup var = doc.groupItems.add ();
  	copy is selected [i] .duplicate (newGroup, ElementPlacement.PLACEATEND);.
  	Selected [i] .moveToBeginning (newgroup);
  	newGroup.clipped = true;
  	}

  As I said, this part is exactly what it is supposed to do for normal paths.

  For CompoundPaths, I use this work around.

  	If ([i] selected. TypeName == 'CompoundPathItem') {}
  	newGroup var = doc.groupItems.add ();
  	copy is selected [i] .duplicate (newGroup, ElementPlacement.PLACEATEND);.
  	Selected [i] .moveToBeginning (newgroup);
  	compoundItems = selected [i] .pathItems;
  	compoundIndex = compoundItems.length;
  	for (f = 0; f < compoundIndex; f ++) {compoundItems [f] .clipping = true ;}
  	var lineList = new array (10);
  	for (l = 0; l < lineList.length; l ++) {lineList [l] = new Array (I * 10 + 50, ((i-5) ^ 2) * 5 + 50) ;}}
  	newPath = app.activeDocument.pathItems.add ();
  	newPath.setEntirePath (lineList);
  	newPath.moveToBeginning (newGroup);
  	newGroup.clipped = true;
  	newPath.remove ();

  Mind you, this workaround works in so far that it ignores that annoying error and evil and composite clipping path also works with the only problem being that created composite clipping path as it is always displayed in its original colours in the layers section and is always selectable. When I lock the composite clipping path I can work with it, but still...

  So the question is, what am I missing here? Surely, there must be a good way to do this.

  app.executeMenuCommand ()? That is me away so far, might be just the right thing. I will definitely take a look, now just to find a ref about it, because unfortunately official documents Ref I do not mention this command. Any place with a list of possible commands?

  Ah, also of course I only do for the isolation mode. If you care to hear the background, it is here:

  As I said it's for photos of shading, I'm working on. I repeated and tried through a bunch of techniques. For example, gradient mesh on my first few true works. Now these cracks don't do well with complex shapes, which previously I mitigated by using a simple square or rectangle gradient mesh and using the original form as a color clipping mask. It worked, but it was a huge field of work.

  After a lot of attempts that I went to the use of simple gradients as a background for the form, and then I do the shading freehand with the blob Brush tool, using a graphic style and filters to make it look like to the right. Is better, but do it right all the clipping masks takes me much more time than anything else.

  Now the problem is that shading is not supposed to cross the lines, it's impossible to do correctly without messing up the order, either using clipping masks, where the script. Because you know, if you use a form of the task with a strong Gaussian blur near the lines, you'll find yourself with stuff on both sides. If you do not start close to the line that the shading will be not look right if the darker the shade needs to be close to the line. And that's where magic of clipping masks.

  And finally, here's an example of how I work with the script and the result:

  After that I drew a sketch, adjust the line widths and at the neatness I turn the paths to sketch the lines and then turn them into a live paint Group (which would ruin the line widths, unless you put the paths in first contour lines).

  With this live paint group need me a few minutes to color my piece dish. Then I develop the live paint group, in case of doubt, spend a few more minutes to make transparent traces of all regions, I need the shadow in one piece, and then I select all areas and use my script to activate the neat clipping masks. Then I can click on any field, enter the isolation mode, and go up one level, so I'm in the appropriate group, where I can shadow freely without the problem beyond the lines.

  At the end which allows me to apply shading complex and comprehensive, without wasting time to get there.

  PS: well, I just found out that draw inside is really close to what I want to do, and oddly enough, it produces the same Visual discrepancy with transparent traces that produces my script. I'll take a closer look that, while my script is a little more than just the stuff of clipping mask, so maybe I'll go for a hybrid solution. Everything that makes for a better workflow.

• Maintain performance when you work with several shape layers (~ 50)

  Hey guys, I worked on a few recent projects where I need to animate a large number of shape layers cascading, adorning it, with different properties of the animation. When I arrived at the point of use of 30-60 shape layers or more, and they all sort of scale, position, animations etc, my computer slows down to a complete analysis. Then forces me to use a single shape layer and Repeater functions. These can work well, sometimes and not cripple the flexibility too, UNTIL you need to incorporate various colors. At this point, I usually spend my shape layers to masks and place a layer underneath with different colors according to the needs. Animations of form then show these colors, but it does not work for a complex object, which, in itself, requires a lot of colors. so...

  What type of workflow you all to work with more complex semi both objects? I say to myself that I must be missing something, because it's become really limit. Everyone works only with 256 GB of memory RAM?

  FYI, my computer specs are:

  
  

  6 core Intel Xeon 2 x 2.66 GHz

  32 GB 1333 MHz DDR3 ECC

  ATI Radeon HD 5870 1024 MB

  OS X 10.9.4 (13E28)

  
  

  Thank you!!
  

  Motorhomes can accelerate your insights if you use the disk cache, but there will be nothing to expedite your first ram preview or a ram preview after a keyframe to change except a better optimized system. All that it takes to slow things down is an effect or film file that causes the AE to begin to use the power of CPU and memory.

  As test I just created a gradient filled rectangle, added keyframes rotation, duplicate the layer so I have 64 copies on my Mac Mini and tried a preview ram from the same model with 1 single layer. Almost no difference in time it took to get an overview of 10 seconds. Thrown into a processing of scale for all layers and once again, not a lot of difference between the layer shape and 64. To make things much more difficult, I change the rectangle a polygon and animated everything in the transform properties starter, put in place a composition with 128 duplicates and a model with a single layer. 2.5 seconds for a ram in the quarter preview ground for a single layer, 10 seconds for a RAM Preview to 128 layers. It is more than acceptable for me for an old Mac Mini for two years with 16 GB of ram. Increase in the factor of 50% zoom with resolution set to Auto double the ram preview duration that was still acceptable.

  This makes me wonder what is happening in your composition. All the effects or other things going on? You have optimized your system for maximum performance? There are links with suggestions to do throughout this site as well as the recommendations of Adobe available here: after effects performance optimization

• How to transform a layer object and a path at the same time?

  Hi all

  I know that I will start when you tell me the answer to this!

  I would really like to know if there is a way I can manage to transform a layer object and a path at the same time... or if there is no work around to get there.

  In a Word, for example I spend a VERY long time to create a drive complex around a very detailed object and then at the end note to what twisted and perspective, and would like to straighten.

  Of course I could turn and correct the object and then carefully turn the path - but it will not correct and I have to spend a lot of time the path of adjustment and make SURE, it is perfect.

  Are there not somehow, I was able to transform set?

  Usually, of course, I do all the correction to straighten and correct the perspective in advance, but in some cases after I am done creating the path I then notice that image could have used other adjustments.

  I appreciate all the advice you can get :)

  Thank you kindly,

  Christine

  Transform the layer and then target the way and make "Edit > Transform path > Again. If you make several changes on the layer, and then each time that validate you and leave transformation mode, remember to do the ' transform path > Again "to keep the layer and the synchronized pathname.