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Transformations and Smart Objects

From: Photoshop CC One-on-One: Intermediate

Video: Transformations and Smart Objects

In this movie, we're going to discuss the relationship between transformations, and smart objects. Even if you're familiar with that relationship, my guess is you're going to find out it's more complicated than you thought. And if you're working along with me, when you open up this file, you may end up getting a fault warning. Again, it's not going to affect your work throughout this chapter. So just go ahead and click OK. Here's the final version of the artwork that we'll be creating, and you can see then I've got this big rotated martini glass, followed by two incrementally smaller duplicates.

Transformations and Smart Objects

In this movie, we're going to discuss the relationship between transformations, and smart objects. Even if you're familiar with that relationship, my guess is you're going to find out it's more complicated than you thought. And if you're working along with me, when you open up this file, you may end up getting a fault warning. Again, it's not going to affect your work throughout this chapter. So just go ahead and click OK. Here's the final version of the artwork that we'll be creating, and you can see then I've got this big rotated martini glass, followed by two incrementally smaller duplicates.

And then we've got this wavy logo in the foreground, that's also slanted upward. And we're going to achieve all of these transformations using a single command. Under the edit menu, it's called Free Transform, and it has a keyboard shortcut of Ctrl T or Cmd T on the Mac. And that's going to become important to us because there're couple variations on that shortcut that allows us to expedite the process. You also see this transform submenu, which contains such commands as Scale, Rotate, Skew, Warp.

All operations that we'll be applying, but the thing is every operation in this menu can be achieved using free transform. All right, I'm going to go ahead and escape out here. Our first task, will be to take this martini glass and introduce it into this template. So I'm going to go ahead and switch back to the glass image. And armed with my rectangular marquee tool, I'll right click inside the image and choose the duplicate layer command. And then I'll change the layer name to glass, and I'll set the document to transformation template, which is that image we saw just a moment ago.

And then I'll click ok. Alright now lets switch over to the template. And I'm going to press the control key, or the command key on a mac, in order to temporarily access the move tool and then I'll drag this martini glass upward so that we can see more of it. Now I'm going to press shift tab in order to bring up the right side panels. If you know anything about transformations, in Photoshop you know that before you apply a single scale or rotate or anything you should right click inside the image and choose convert to smart object.

That places the image in a protective container so you can scale and rotate and otherwise transform it. In as many passes as you like. For example, imagine that you were to rotate this image three times in a row 15 degrees each time. If you did that to a pixel based layer then Photoshop would have to rewrite the pixels a total of three times. Which would be a destructive modification. Whereas, if you did that exact same thing to a smart object, then Photoshop would just say alright, 15 degrees times 3, that's 45 degrees, and it would rewrite the pixels just once.

And I've actually performed a test here so that you can see what that looks like. Switch back to the long stem glass image and you can see this layer called 40E rotations. Go ahead and turn it on. If you're zoomed, out as far as I am you won't see any differences, but we will in a moment. Let me tell you what I did. I went ahead (INAUDIBLE) enough times to send the image all the way around twice so that it's back upright. And let's now take a look at what that looks like.

I applied this modification to a pixel-based imaged. Now I'll zoom in here and now at 100 percent I imagine you can see the problems, but I want you to really see 'em so I'll zoom in to 200 percent. And you can see that it's just tragic. We have the stair stepping all over the place here. The image is in terrible shape. It looks worse than JPEG compression even. Now, my guess is you're probably never going to transform a pixel-based image 48 times in a row, unless you just like to abuse photographs.

But still, you get a sense of what's going on, wheras were I to rotate a smart object. Fifteen degrees each 48 times in a row. Then Photoshop would just do the math, and say well okay 15 degrees times 48 that's 720 degrees, that's the same as zero degrees. In other words, I don't have to rewrite the pixels at all, and the image would appear in perfect shape. So there's an awfully big difference, and that might argue in favor of the idea that we should definitely convert this to a smart object before we start transforming it.

Well, we will be using smart objects later in this project but not where the martini glass is concerned. And the reason is, if we were to use smart objects we would miss out on two very important transformation functions. So if I press Ctrl+T or Cmd+T on a Mac to enter the Free Transform mode, see this Interpolation option appear in the Options bar. It affects every single transformation that you'll apply. And so it's going to become very important to us starting in the next movie. Problem is, it's not available to us when we're working with smart objects.

So that's one issue. The other is that you can't transform, and simultaneously duplicate a smart object, which is a big oversight. And as a result, smart objects just aren't going to work for our purposes. So I'll go ahead and press the Escape key in order to leave the free transform mode. The good news is we're not doing too much damage. We're going to rotate the martini glass first. And we're only going to rotate it once. And then we'll scale the rotated martini glass, and then we'll scale it again.

So we are going to be applying three separate transformations in a row. But if we do it right, the glass art is going to survive quite nicely. So with any luck, you have a sense for when you should and shouldn't combine transformations, with smart objects inside Photoshop. In the next issue we'll take on the tricky issue of interpolation.

Show transcript

This video is part of

Image for Photoshop CC One-on-One: Intermediate
Photoshop CC One-on-One: Intermediate

119 video lessons · 9305 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 2m 4s
    1. Welcome to One-on-One
      2m 4s
  2. 29m 46s
    1. The best of Photoshop automation
      35s
    2. Introducing the Patch tool
      3m 43s
    3. Using Content-Aware Patch
      5m 42s
    4. Retouching with Content-Aware Patch
      2m 5s
    5. Using the Content-Aware Move tool
      3m 9s
    6. Using Content-Aware Extend
      2m 4s
    7. The Content-Aware Scale command
      6m 35s
    8. Scaling in multiple passes
      2m 22s
    9. Protecting skin tones
      3m 31s
  3. 32m 55s
    1. Editing the histogram
      1m 50s
    2. The new automatic Levels adjustment
      4m 33s
    3. Customizing a Levels adjustment
      4m 53s
    4. Understanding the Gamma value
      2m 7s
    5. Opening up the shadows
      2m 48s
    6. Previewing clipped pixels
      3m 40s
    7. Retouching with Output Levels
      4m 25s
    8. Making channel-by-channel adjustments
      2m 19s
    9. Faking a gray card in post
      2m 51s
    10. Assigning shortcuts to adjustment layers
      3m 29s
  4. 57m 43s
    1. How sharpening works
      1m 38s
    2. Introducing the Smart Sharpen filter
      6m 56s
    3. Understanding the Radius value
      5m 20s
    4. Gauging the best sharpening settings
      5m 45s
    5. Addressing color artifacts and clipping
      5m 49s
    6. The Remove and Reduce Noise options
      4m 22s
    7. The Shadows/Highlights options
      7m 36s
    8. Correcting for camera shake
      6m 47s
    9. Sharpening with the Emboss filter
      5m 45s
    10. Sharpening with the High Pass filter
      4m 44s
    11. Painting in sharpness
      3m 1s
  5. 1h 9m
    1. Vector-based type
      1m 35s
    2. Creating and editing point text
      5m 58s
    3. Font and type style tricks
      7m 10s
    4. Type size and color tricks
      6m 42s
    5. Kerning and tracking characters
      8m 7s
    6. Creating and editing area text
      3m 50s
    7. Selecting and formatting paragraphs
      6m 36s
    8. Setting text inside a custom path
      5m 32s
    9. Creating text along a path
      6m 12s
    10. Adjusting baseline shift
      4m 45s
    11. Creating and stylizing a logo
      6m 49s
    12. Masking text into image elements
      6m 14s
  6. 57m 13s
    1. The other vector-based layer
      1m 39s
    2. Dotted borders and corner roundness
      8m 14s
    3. Drawing and aligning custom shapes
      3m 55s
    4. Creating your own repeatable custom shape
      5m 43s
    5. Selecting paths and isolating layers
      4m 11s
    6. Combining simple shapes to make complex ones
      5m 59s
    7. Cropping, adjusting, and merging shapes
      5m 50s
    8. Creating a soft, synthetic sparkle
      6m 22s
    9. Saving a resolution-independent PDF file
      6m 42s
    10. Turning a small image into a huge one
      8m 38s
  7. 1h 14m
    1. Depth, contour, and texture
      1m 28s
    2. Imparting depth with a layer effect
      9m 9s
    3. The power of the drop shadow
      7m 37s
    4. Modifying a layer and its effects
      6m 21s
    5. Saving custom default settings
      4m 12s
    6. Creating a custom contour
      8m 5s
    7. Introducing Bevel and Emboss
      8m 8s
    8. Multiple effects and multiple layers
      7m 45s
    9. Global Light and rasterizing effects
      8m 5s
    10. Gloss and surface contour
      6m 4s
    11. Adding texture to Bevel and Emboss
      7m 21s
  8. 34m 48s
    1. Styles store settings
      1m 38s
    2. Creating and applying a paragraph style
      3m 41s
    3. Redefining a style and styling a word
      5m 38s
    4. Creating and styling a placeholder style
      5m 43s
    5. Applying and creating layer styles
      5m 45s
    6. Loading and customizing layer styles
      5m 42s
    7. Merging and saving layer styles
      6m 41s
  9. 56m 48s
    1. Meet the transformations
      1m 55s
    2. Transformations and Smart Objects
      5m 46s
    3. Adjusting the interpolation setting
      5m 10s
    4. Rotating a layer with Free Transform
      5m 22s
    5. Scale, duplicate, and repeat
      4m 30s
    6. Creating a synthetic star field
      5m 20s
    7. Warping a logo with Arc and Flag
      5m 34s
    8. Distort, perspective, and skew
      4m 15s
    9. Using transformations to draw and correct
      7m 0s
    10. Bolstering text with layer effects
      5m 43s
    11. Adding highlights with Lens Flare
      6m 13s
  10. 43m 36s
    1. Removing the weight that the camera adds
      1m 7s
    2. The Warp and Reconstruct tools
      6m 44s
    3. Brush size, hardness, and opacity
      4m 29s
    4. The Pucker, Bloat, Push, and Twirl tools
      7m 12s
    5. Saving and reapplying Liquify settings
      4m 9s
    6. Lifting and slimming details
      9m 42s
    7. Warping legs, arms, and fabric
      5m 33s
    8. Improving a model's posture
      4m 40s
  11. 58m 46s
    1. Shoot in color, convert to black and white
      1m 55s
    2. Three ways to grayscale
      5m 36s
    3. Mixing a custom black-and-white image
      7m 31s
    4. Simulating an infrared photograph
      6m 39s
    5. Creating a sienna-infused sepia tone
      5m 38s
    6. Creating a hyper-saturated image
      5m 26s
    7. Introducing the Black & White command
      3m 16s
    8. Customizing the Black & White settings
      4m 50s
    9. Black & White meets the Channel Mixer
      7m 29s
    10. Infusing an image with tint and color
      5m 9s
    11. Grayscale and Split Tone in Camera Raw
      5m 17s
  12. 41m 34s
    1. The many ways to print
      1m 41s
    2. Using the test document
      3m 18s
    3. Print, position, and size
      5m 57s
    4. Description and printing marks
      3m 3s
    5. Establishing a bleed
      3m 44s
    6. Getting reliable color
      5m 54s
    7. Special printing options
      5m 1s
    8. Previewing an image at print size
      4m 16s
    9. Creating contact sheets
      4m 49s
    10. Creating a multipage PDF
      3m 51s
  13. 31m 9s
    1. Making Internet imagery
      1m 6s
    2. Introducing Save for Web
      4m 39s
    3. Creating the perfect JPEG image
      5m 14s
    4. Creating a high-contrast GIF image
      6m 23s
    5. The two varieties of PNG
      3m 57s
    6. Downsampling for the web
      5m 59s
    7. Adding copyright and contact info
      3m 51s
  14. 1m 3s
    1. Until next time
      1m 3s

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