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Smart Object opens as a new Photoshop document, with both the original layers intact and ready to edit. It opens as a PSB file. This is because your Smart Object is really just a Photoshop file embedded into your document, albeit a PSB file rather than a PSD.

The one problem with the Paint Bucket tool is its lack of precision. Although the tool is undeniably convenient, the effects of the Tolerance value are so difficult to predict that you typically have to click with the tool, choose Edit Undo when you don t like the result, adjust the Tolerance value, and go through that process several times before you fill the image as desired. A better option is to use one of Photoshop s selection tools to select the area to be filled and then choose Edit Fill. You also can press Shift+Backspace (Shift+Delete on the Mac, or if you prefer function keys, try Shift+F5). After issuing the command and choosing what kind of fill you want, your selected area is entirely filled with a color or pattern, whichever you chose from the Fill dialog box. Why make a selection first Well, instead of putting your faith in the Paint Bucket tool s Antialiased option (or the aforementioned Tolerance setting, which isn t always predictable in its results), you can draw a selection outline that feature s hard edges in one area, anti-aliased edges elsewhere, and downright blurry edges in between. Of course, you don t have to make a selection first. For example, if you want to fill an entire layer, you don t need to create a selection outline before choosing Fill. The program assumes that you want to fill the whole layer if it doesn t see a selection outline.

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^ We nd that gn0 m0 is a projection of ^(u, v) onto the Shannon scaling function basis g described in Section 3.8. Speci cally 1 1 X X n0 nN m0 mN ^n0 m0 % ^ , (7:11) g g X Y n 1 m 1 Since ^n0 m0 is periodic in n0 and m0 , g tiles the discrete Fourier space with discretely g sampled copies of ^(u, v). We previously encountered this tiling in the context of the g sampling theorem, as illustrated in Fig. 3.4. Figure 7.3 is a revised copy of Fig. 3.4 to allow for the possibility of aliasing. ^[(n0 nN)=X, (m0 mN)=Y] is a discretely sampled copy of ^(u, v) centered g g

n Rotate: Type a value in the Rotate option box or drag outside the transformation boundary to rotate the selection, as in the second example in Figure 8.20. The rotation always occurs with respect to the origin.

official "surpluses"

The file appears within a bounding box containing handles in each corner, as shown in Figure 9.6. Click and drag a handle to resize the placed image. You can size the image up or down in the Photoshop document window. When finished scaling, press the Enter (Windows) or Return (Macintosh) key. Pressing the key does not rasterize the file. All vector attributes are retained.

where Ln (2r2 ) is a generalized Laguerre polynomial, play a similar role in cylindrical m coordinates to the Hermite Gaussian functions in Cartesian coordinates. Speci cally, the Fresnel transform of cmn(r, f ) is [65] e ~ cmnt (r, f)

w,) + 1T&w + w,) (

In this chapter, you read all about 3D surfaces. You read about: n Creating surfaces by using the 3DFACE command and controlling the visibility of the lines between the faces n Creating polyface meshes n Creating plane surfaces n Drawing surfaces with 3D polygon meshes, including the basic shapes box, wedge, pyramid, cone, sphere, dome, dish, and torus n Making a surface by revolving a profile around an axis n Extruding and sweeping a curve n Creating a surface between two curves n Making an edge surface from four curves n Working with multiple types of objects In the next chapter, you discover how to create true solids and meshes (well, true electronic ones, at least) as well as how to edit in 3D.

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