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Performing nondestructive transformations

From: Photoshop CS4 One-on-One: Mastery

Video: Performing nondestructive transformations

The first and foremost advantage of Smart Objects inside Photoshop is that they permit you to apply non-destructive transformations, meaning that you can scale a Smart Object as many times as you like without ruining it. Compare that to scaling some other pixel based layer inside of Photoshop. If you scale it multiple times, you will incrementally destroy the information on that layer and we'll see how that works. We will see the difference between destructive and non-destructive transformations in this very exercise. So what I'd like you to do is go ahead and open this document that's called 35- percent logo.psd. I have so named this document because after all I have scaled the logo to 35% of its original size.

Performing nondestructive transformations

The first and foremost advantage of Smart Objects inside Photoshop is that they permit you to apply non-destructive transformations, meaning that you can scale a Smart Object as many times as you like without ruining it. Compare that to scaling some other pixel based layer inside of Photoshop. If you scale it multiple times, you will incrementally destroy the information on that layer and we'll see how that works. We will see the difference between destructive and non-destructive transformations in this very exercise. So what I'd like you to do is go ahead and open this document that's called 35- percent logo.psd. I have so named this document because after all I have scaled the logo to 35% of its original size.

Now back in the old days, prior to Photoshop CS2, if you imported an illustration into Photoshop, it would be permanently rasterized. So it would look like this. Just for the sake of comparison here, I'll go ahead and show you what it used to look like. I will go to the Glistenex Logo layer, right-click in an empty portion of the layer, not on the name and not on the thumbnail, and if you don't have a right mouse button on the Mac, you would press the Ctrl key and click, and then choose Rasterize Layer and you will see that your Smart Object icon goes away, and we now have a standard pixel based layer.

So here I am. I have got my logo. I'm playing around with it, my art director comes by and says, "what in the world are you doing?" And I'm like, "just doing my job." Then here she says, "No, no, no, that Glistenex logo is too darn small. They are very fussy client, and they just hate it when their logo is only of the size of the dude's shoulder. It needs to be much larger than this." And I'm like okay, yeah, fine. So what I'll do is I'll just go ahead and transform it and make it bigger. Why don't I? So I'll go up to the Edit menu and I'll choose the Free Transform command, Ctrl+T, Command+T on the Mac. And then it's telling me that the size of the logo is 100%. Even though I know it's 35% of its former size, I'm being told that's 100% of its size and that's because now that its pixels, Photoshop has no memory of what it used to be.

All right, so I'll just go ahead and make it really gargantuan because that's what they want. They want their logo so huge that it covers up the dude's face, and it's looking pretty choppy actually. I'll go ahead and zoom in on that logo to the 100% view size and I'm thinking, hmm, that's not welcome news, but at the same time, Free Transform doesn't show you the anti-aliasing while you are in the Free Transform mode. It abandons the anti-aliasing. So it's not really a good indicator of the final appearance. You are not going to know what it really looks like until you go ahead and press the Enter key or the Return key on the Mac. And there it is and it looks like garbage. It looks very bad and you can see that we have got some very rough transitions and this is a function of bicubic interpolation. So it's good interpolation, it's just horrible results because we have upsampled so significantly.

So then the art director says, "Whoa, that looks terrible. Make it smaller again. We can't have it that big if it's going to look like that." So you will press Ctrl+T or Command+T on the Mac and make it smaller. I'm Shift+Dragging by the way the corner handle, so I'm constraining the proportions. So I'd say, "Okay, I'll make it smaller" and press Enter or Return, and they say, "No, not that small. What are you thinking? Make it bigger again". So I'll press Ctrl+T or Command+T on the Mac and I'll make it bigger again and I'm getting flustered now and I press Enter or Return and now it really looks like just horrible now and I get fired.

So that's a very sad story. Thanks to a lack of Smart Objects in Photoshop CS and earlier, I got fired. All right, so boy, that looks terrible. So now thanks to Smart Objects, how do things look? Let's just go up to the File menu and choose the Revert command or press F12 in order to restore the original Smart Objects version of the logo. So let's replay that exact conversation. I'm sitting there, la, la, la, la, la, editing my ad, art director comes by, slaps me around a little, tells me that Glistenex logo should not be the size of the dude's shoulder. It needs to be much bigger.

I'm like okay, okay, I'll make it bigger. So I press Ctrl+T, Command+T on the Mac. It is a Smart Object now. So we have our original vector data embedded inside of this photographic composition and that's why Photoshop knows that the size is 35%. So it remembers. So if I make the logo really big like so, it's not looking good. I'll go ahead and zoom into 100% again and it's not looking good in the Free Transform mode, but that's because the anti-aliasing is temporarily turned off. I will go ahead and press the Enter key or the Return key on the Mac to accept that larger size. And see how long it took for Photoshop to calculate that? It's working from that original data. Oh! It's gorgeous.

Now, my art director says, "No, no, no, what are you thinking. It doesn't want to be that big. Make it smaller." And so I say, okay, Ctrl+T, Command+T on the Mac and make it really tiny, just this infinitesimal little dot of a logo. That's only 1.4% of its original size and then I press the Enter or Return key in order to accept that, and then my art director says, "My God man, have you lost your mind? It can't be that small. It could fit in the guy's shirt. It's so tiny." So I say, "Oh! Okay, you are right", and I press Ctrl+T, Command+T on the Mac in order to bring up Free Transform again. I press the Shift key, I make my logo bigger, and actually they want it at 65%.

So she mercifully tells me that, or he, and I'll change the Width value to 65%, while the link is on, so I have a height of 65% as well and then I press the Enter or Return key a couple of times in order to accept that modification and it looks gorgeous. My job is saved. In fact, I just got a big, fat Glistenex raise. So that's awesome. Anyway, thanks to the power of Smart Objects and the fact that they do afford you access to non-destructive transformation. So you can make something smaller, make it bigger, rotate it, rotate it back, do whatever you want.

You can even warp and unwarp objects without harming them, because every single operation is concatenated. Meaning that there is just one overarching transformation that's applied. In this case, it's a 65% scale and that's it. Despite all of the many transformations that I applied over and over again, it all boils down to 65%. The end. In the next exercise, we'll see how we can edit this illustration right here from Photoshop in Illustrator. Check it out.

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This video is part of

Image for Photoshop CS4 One-on-One: Mastery
Photoshop CS4 One-on-One: Mastery

147 video lessons · 27713 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 21m 17s
    1. Welcome
      1m 21s
    2. Installing the DekeKeys keyboard shortcuts
      5m 38s
    3. Resetting the Function keys on a Mac
      3m 51s
    4. Installing the CS4 color settings
      4m 34s
    5. Setting up the CS4 color settings
      5m 53s
  2. 2h 31m
    1. Introduction to masking
      51s
    2. Introducing color range
      4m 22s
    3. Adding base colors and adjusting fuzziness
      4m 46s
    4. Localized color clusters
      6m 12s
    5. The Quick Mask mode
      7m 33s
    6. Viewing a quick mask by itself
      6m 40s
    7. Testing the quality of edges
      3m 55s
    8. Introducing the Masks palette
      7m 45s
    9. Editing a layer mask
      6m 18s
    10. Choking a mask with Gaussian Blur and Levels
      6m 44s
    11. Choking a mask with Mask Edge
      7m 43s
    12. Adding a Gradient Overlay shadow
      4m 23s
    13. Using live Density and Feather
      6m 12s
    14. Journeyman masking
      5m 44s
    15. Creating an alpha channel
      7m 6s
    16. Increasing contrast
      7m 15s
    17. Overlay painting
      8m 28s
    18. Cleaning up whites and blacks
      5m 48s
    19. Soft light painting
      5m 47s
    20. Selecting in style
      6m 55s
    21. Employing masks as selections
      5m 2s
    22. Scaling and compositing layers
      6m 30s
    23. Compositing glass
      5m 10s
    24. Selecting glass highlights
      8m 41s
    25. Working with found masks
      5m 46s
  3. 1h 34m
    1. Introduction to vector-based shapes
      1m 10s
    2. Vector-based type outlines
      7m 23s
    3. The benefits of vectors
      6m 27s
    4. Upsampling vs. nondestructive scaling
      7m 35s
    5. Vectors and effects
      8m 7s
    6. Fill Opacity and clipped layers
      4m 24s
    7. Basic shape creation
      3m 15s
    8. Drawing interacting shapes
      6m 21s
    9. Power-duplicating paths
      3m 12s
    10. Combining pixels and vector masks
      5m 19s
    11. Line tool and layer attributes
      7m 5s
    12. Copying and pasting path outlines
      3m 28s
    13. Drawing custom shapes
      3m 59s
    14. Drawing with the Pen tool
      7m 48s
    15. Creating cusp points
      7m 28s
    16. Defining a custom shape
      3m 34s
    17. Assigning a vector mask to an image
      2m 38s
    18. Adding a vector object to a composition
      5m 40s
  4. 1h 23m
    1. Introduction to Vanishing Point
      1m 11s
    2. Creating and saving the first plane
      8m 9s
    3. Creating perpendicular planes
      5m 16s
    4. Healing in perspective
      8m 47s
    5. Cloning and scaling in perspective
      8m 33s
    6. Patching an irregularly shaped area
      6m 59s
    7. Healing between planes
      3m 34s
    8. Importing an image into a 3D scene
      5m 45s
    9. Adding perspective type
      5m 37s
    10. Removing and matching perspective
      5m 36s
    11. Applying a reflection in perspective
      5m 1s
    12. Creating a perspective gradient
      6m 11s
    13. Converting a gradient to a mask
      2m 58s
    14. Swinging planes to custom angles
      4m 32s
    15. Wrapping art around multiple surfaces
      5m 49s
  5. 1h 15m
    1. Introduction to Smart Objects
      58s
    2. Placing a Smart Object
      5m 7s
    3. Saving a PDF-compatible AI file
      4m 27s
    4. Performing nondestructive transformations
      6m 7s
    5. Editing a Smart Object in Illustrator
      6m 50s
    6. Converting an image to a Smart Object
      6m 50s
    7. Cloning Smart Objects
      5m 24s
    8. Creating a multilayer Smart Object
      5m 51s
    9. Updating multiple instances at once
      2m 54s
    10. Creating a Camera Raw Smart Object
      4m 17s
    11. Editing a Camera Raw Smart Object
      3m 25s
    12. Assembling a layered ACR composition
      5m 54s
    13. Using an ACR Smart Object to effect
      3m 41s
    14. Blending multiple ACR portraits
      6m 56s
    15. Live type that inverts everything behind it
      6m 32s
  6. 1h 48m
    1. Introducing nondestructive Smart Filters
      46s
    2. Applying a Smart Filter
      4m 22s
    3. Adjusting filter and blend settings
      4m 25s
    4. Heaping on the Smart Filters
      5m 19s
    5. Smart Filter stacking order
      7m 23s
    6. Resolution and Smart Filter radius
      6m 12s
    7. Masking Smart Filters
      4m 41s
    8. Employing nested Smart Objects
      5m 5s
    9. Dragging and dropping Smart Filters
      6m 31s
    10. Using the Shadows/Highlights filter
      5m 53s
    11. Regaining access to the pixels
      7m 8s
    12. Parametric wonderland
      5m 52s
    13. Working with the Filter Gallery
      6m 28s
    14. Freeform filter jam
      5m 51s
    15. Swapping filters from the Filter Gallery
      3m 45s
    16. Mixing all varieties of parametric effects
      7m 30s
    17. Addressing a few Smart Filter bugs
      3m 11s
    18. Applying a Smart Filter to live type
      5m 30s
    19. Choking letters with Maximum
      3m 7s
    20. Duplicating a Smart Filter
      2m 38s
    21. Enhancing a filter with a layer effect
      6m 30s
  7. 1h 6m
    1. Introduction to Auto-Align, Auto-Blend, and Photomerge
      1m 2s
    2. Merging two shots into one
      3m 49s
    3. Applying Auto-Align layers
      3m 44s
    4. Masking images into a common scene
      1m 38s
    5. Auto-Align plus Auto-Blend
      8m 11s
    6. Assigning weighted Opacity values
      4m 7s
    7. Employing a Difference mask
      7m 17s
    8. Masking smarter, not harder
      3m 53s
    9. Capturing multiple depths of field
      3m 37s
    10. Auto-blending real focus
      8m 31s
    11. Creating a panorama with Photomerge
      7m 27s
    12. Correcting a seamless panorama
      4m 52s
    13. An altogether nondestructive Lab correction
      7m 59s
  8. 1h 44m
    1. Introduction to new CS4 technologies
      1m 1s
    2. Applying Content-Aware Scale
      7m 18s
    3. What works and what doesn't with Content-Aware Scale
      4m 19s
    4. Protecting areas with masks
      7m 31s
    5. Applying incremental edits
      7m 6s
    6. Protecting skin tones
      7m 12s
    7. Scaling around a model with TLC
      9m 0s
    8. Adjusting the scale threshold
      5m 22s
    9. When Content-Aware Scale fails
      4m 2s
    10. Creating a lens distortion effect
      8m 39s
    11. Layer masking the family
      11m 44s
    12. Installing the Pixel Bender
      3m 42s
    13. Introducing Pixel Bender kernels
      6m 50s
    14. Pixel Bender kernel roundup
      7m 24s
    15. Tube View and Ripple Blocks
      3m 58s
    16. Making a seamless pattern with Kaleidoscope
      6m 13s
    17. Introducing the Pixel Bender Toolkit
      3m 24s
  9. 1h 20m
    1. Introduction to actions
      42s
    2. Creating an action
      5m 45s
    3. Recording operations
      5m 12s
    4. Reviewing and editing an action
      4m 45s
    5. Playing an action (the Button Mode)
      4m 50s
    6. Saving and loading actions
      5m 0s
    7. Copying and modifying an action
      4m 8s
    8. Permitting the user to change settings
      5m 50s
    9. The Best Chrome Effect Ever II
      3m 41s
    10. Recording a fail-safe action
      7m 33s
    11. Rounding corners with a mask
      4m 33s
    12. Cleaning up layers
      3m 51s
    13. Automating layer effects
      7m 1s
    14. Applying chrome with Gradient Map
      6m 24s
    15. Action anomalies
      4m 11s
    16. Rendering effects to layers
      5m 1s
    17. Testing that it works
      2m 0s
  10. 1m 14s
    1. See ya
      1m 14s

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