Photoshop CC One-on-One: Intermediate
Illustration by John Hersey

Turning a small image into a huge one


Photoshop CC One-on-One: Intermediate

with Deke McClelland

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Video: Turning a small image into a huge one

Now let's say you want to take your magazine cover, which measures almost eight inches wide by 11 inches tall and you want to turn it into a piece of poster art that measures 30 inches wide by 40 inches tall. Well, the answer is to up sample the image using the image size command. And whereas up-sampling is an iffy proposition when you're working with pixel-based images. Because regardless of the interpolation method, Photoshop ultimately has to average the existing pixels inside the file. When you're working with resolution independent vector-based text and shape layers Photoshop is working from the mathematical path outline definitions, meaning that you always get razor sharp results.
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  1. 2m 4s
    1. Welcome to One-on-One
      2m 4s
  2. 1h 1m
    1. The best of Photoshop automation
    2. Content-Aware Fill and Color Adaptation (CC 2014)
      7m 44s
    3. Combining two layers with a layer mask (CC 2014)
      5m 37s
    4. Content-aware healing (CC 2014)
      10m 17s
    5. Introducing the Patch tool
      3m 43s
    6. Using Content-Aware Patch
      7m 17s
    7. Retouching with Content-Aware Patch
      3m 45s
    8. Using the Content-Aware Move tool
      7m 41s
    9. Using Content-Aware Extend
      2m 4s
    10. The Content-Aware Scale command
      6m 35s
    11. Scaling in multiple passes
      2m 22s
    12. 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 12m
    1. Vector-based type
      1m 35s
    2. Creating and editing point text
      8m 8s
    3. Font and type style tricks
      7m 58s
    4. Type size and color tricks
      6m 42s
    5. Kerning and tracking characters
      8m 9s
    6. Creating and editing area text
      3m 50s
    7. Selecting and formatting paragraphs
      6m 50s
    8. Setting text inside a custom path
      5m 34s
    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. 1h 9m
    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 and modifying path outlines (CC 2014)
      6m 5s
    6. Isolating selected layers (CC 2014)
      6m 39s
    7. Combining simple shapes to make complex ones
      6m 31s
    8. Cropping, adjusting, and merging shapes
      8m 49s
    9. Creating a soft, synthetic sparkle
      6m 22s
    10. Saving a resolution-independent PDF file
      6m 42s
    11. 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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Watch the Online Video Course Photoshop CC One-on-One: Intermediate
10h 37m Intermediate Aug 19, 2013 Updated Sep 18, 2014

Viewers: in countries Watching now:

Photoshop CC One-on-One is back, and this installment teaches you how to build on your basic knowledge and achieve next-level effects with this premiere image-editing program. Industry pro Deke McClelland shows you how to seamlessly move and patch areas of a photo with the Content-Aware toolset; stretch the brightness of a scene with automatic and custom Levels adjustments; create intricate designs with text and shapes; and morph an image with layer effects and transformations. Deke also shares his techniques for sharpening details, whether addressing noise and highlight/shadow clipping or camera shake, and converting a full-color image to black and white. The final chapters show you how to best print and save images for the web, making sure all your hard work pays off in the final output.

Topics include:
  • Performing automatic retouch, scaling, and more with the Content-Aware tools
  • Editing the histogram
  • Customizing a Levels adjustment
  • Making channel-by-channel Levels adjustments
  • Sharpening with the Smart Sharpen, Emboss, and High Pass filters
  • Working with vector-based type
  • Kerning and tracking characters
  • Creating text on a path
  • Drawing and customizing shapes
  • Creating depth, contour, and texture with layer effects
  • Liquifying an image
  • Simulating an infrared photo
  • Adjusting print position, size, and color
  • Creating the perfect JPEG image
  • Downsampling for the web
Design Photography
Deke McClelland

Turning a small image into a huge one

Now let's say you want to take your magazine cover, which measures almost eight inches wide by 11 inches tall and you want to turn it into a piece of poster art that measures 30 inches wide by 40 inches tall. Well, the answer is to up sample the image using the image size command. And whereas up-sampling is an iffy proposition when you're working with pixel-based images. Because regardless of the interpolation method, Photoshop ultimately has to average the existing pixels inside the file. When you're working with resolution independent vector-based text and shape layers Photoshop is working from the mathematical path outline definitions, meaning that you always get razor sharp results.

The first step is to protect the original image by going up to the Image menu and choosing the Duplicate command and I'll go ahead and call this guy High-res poster art. Do not turn this check box on. We need access to all the original text and shape layers in order to accurately scale the image. Then click OK. Now I'll go ahead and zoom in a little bit here. And the next step is to go up to the image menu and choose the Image Size command, or you can press Ctrl+Alt+I, or Cmd+Opt+I on a Mac.

Be sure to turn on the re-sample check box. And you can go with automatic if you like, it doesn't really, actually matter where the text, and shape letters are concerned because they're not being interpolated. Only the background image is going to be effected by this option, and you might as well go with automatic because that way Photoshop applies preserve details. Next you want to switch to inches, and make sure your width and height values are linked together, and go ahead and increase the width value to 31 inches, and that'll take the height value up to 43 inches.

I'm also going to increase the resolution to 300 pixels per inch. And then finally, you want to go up here to the little gear icon, and make sure Scale styles is turned on. That way, Photoshop will do its best to scale the layer effects inside the composition. Now, I'm going to scroll over here, kind of lost in this woman's pearls right now, so that we can see the Text layers and it looks as if I'm a big liar, right, because we're not getting super smooth results. We're getting your standard preserved details interpolation.

And that's because the image size command is not previewing the text and shape layers properly. They are going to render out super smooth you'll see that in a moment. In the meantime, go ahead and switch width or height. Back to percent so we can see just how much we're increasing the size of this image. And it turns out its by a factor of 500%. Well it's actually more then that, we're increasing the width by 500%, and the height by 500%. And 5 times 5 is 2500%, meaning that for every one pixel that we use to have in the image we're now going to have 24 more.

And as a result, we're dramatically increasing the size of this file. To make it happen, go ahead and click on the okay button. Now its going to take a few moments for Photoshop to do its thing. Because after all this is a fairly complex document with quite a few different layers and layer masks and so forth. Now just so I can better navigate I'll go ahead and bring up my Navigator panel and I've increased it's size a little bit so I can see a bigger thumbnail. And I'm going to go ahead and drag this red square down and notice there's that text that was appearing so choppy inside the Image Size dialogue box, but it looks great once it's actually rendered here inside the Image window.

And I'm not even viewing the image at 100%. I could press Ctrl+1 or Command+1 on a Mac. So that I can see one image pixel for every screen pixel and everything is absolutely razor sharp. Lets go ahead and check out the layer effects and see how they're holding up. I'll scroll over to 365, here inside the Navigator panel and then I'll press Control minus or Command minus a few times in order to zoom out so I can see all of the text, and I'll hide the Navigator panel as well. And then I'll switch back to my original image and zoom in on its 365, and notice that the pattern isn't quite working out.

So, we've got a big pattern inside the original image, and we've got a smaller, tighter pattern inside the new image And that's a function of this. I'm going to go ahead and scroll down my list of layers here and click on 365 expanded as well and I'm going to start by double clicking on the stroke. And notice that the stroke is set to two pixels and that'll become important in just a moment. Now I'll switch to Pattern Overlay, and notice that it's scale value is set to 400%. So if everything goes the way it should then the strokes should scale from two to ten, because 2 times 5 is ten.

And the Pattern overlay should scale from 400% to 2,000%. So I'll go ahead and cancel out here. Switch over to my big poster art. Find it, 365 layer, twirl it open and double click on its stroke. And sure enough the stroke is scaled to ten pixels. And it's got a lot of headroom notice that there's an awful lot of slider bar available, so it could get a lot thicker than that. Whereas if I click on Pattern overlay. Its scale value is maxed out at 1000%. So the scale value does not go to 200% where the pattern is concerned, meaning that we're faced with one of two options.

Either we can redesign the pattern, so it's larger or we could just accept things the way they are, and I'm inclined to do the latter, because after all it looks pretty great. Now, the one thing that did not scale is the sparkle, and that's because Photoshop didn't even make any attempt to scale the sparkle. Whereas, in the original image, go ahead and scroll over to it. The sparkle is nice and soft, if a little jagged when I zoom in to 200%, it's awfully brittle inside the new image. And that's because Photoshop doesn't automatically scale that feather value.

You have to scale it manually. So I'm going to start by selecting the Circle layer here inside the Layers panel. Then I'll go up to the Window menu, and choose the Properties command to bring up the Properties panel. The feather value was eight pixels. 8 times 5 is 40, so I'll just go ahead and enter a feather of 40 pixels. Then I'll click on the Star layer. It's feather value is 2.5 pixels. 2.5 times 5 is 12.5 so I'll just go ahead and enter that value. And press the Tab key. And now if you switch back and forth between these two images, you can see that we have equivalent effects.

And what's great about this is it's not even jagged the way it was in the PDF file. We have a nice, smoothly rendered sparkle. One more thing I want to show you because I just think it looks awesome. I'm going to scroll up to her hair. And notice that her hair is kind of, lumpy. And that's because it was interpolated using that Preserve Details function. But the text in the background is once again razor-sharp. And the interaction between the hair and the text looks absolutely great. Notice what fine detail we've managed to keep.

Alright next what you probably want to do let's say you are done, you have checked everything in the file it's all working out absolutely brilliantly. There are no problems left then you probably want to go ahead and flatten the image because after all notice down here in the lower left corner. Of the image window. The size of the file flat is 343 megabytes with layers it's almost a gigabyte. So if you don't need the layers, then you should probably get rid of them. And you can do that by going up to the layer menu and choosing flatten image.

When Photoshop asks you if you want to discard the hidden layers, go ahead and click OK. And this may take a few moments, because again, its a complicated file. Then switch over to the Channels panel and lets get rid of that alpha channel by dragging it and dropping it on the trash icon. Now, to save the file. Go up to the File menu, and, because we duplicated it, it has not been saved before so you can just choose the Save command, or press Ctrl+S, or Cmd+S on the Mac. This file doesn't contain any layers, no alpha channels either.

And so the best way to retain all the detail inside of a flat image is to select the TIFF format, and then, go ahead and click on the save button. When the TIFF Options dialog box comes up. Make sure Image Compression is set to LZW, because that lossless compression is going to reduce the size of the file from 340 megs in memory to just 66 megs on disk. You can leave the other options as is, and then click on the OK button in order to save off that file. And that's how you transform a magazine cover into a work of poster art by scaling the resolution independent vector based text and shape layers here inside Photoshop.

Find answers to the most frequently asked questions about Photoshop CC One-on-One: Intermediate .

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Q: This course was updated on 09/18/2014. What changed?
A: Deke updated the course to reflect changes in the 2014 version of Photoshop CC. The updates are concentrated in "The Content-Aware Collection" and "Creating and Formatting Text" chapters, but there are new movies sprinkled throughout the course as well.
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