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Upsampling vs. nondestructive scaling

From: Photoshop CS4 One-on-One: Mastery

Video: Upsampling vs. nondestructive scaling

In this exercise, I'm going to show you the biggest benefit of all associated with vector-based paths inside of Photoshop, and i.e., that they are scalable. Meaning that you can increase the size of a photo illustration without any penalty. So, I still have open Tip pixels.psd and Type to vectors.psd, both found inside the 24_vector_shapes folder. I want to show you something about this image. I'm going to go up to the Image menu, and I'm going to choose, and it doesn't matter which image we're looking at right now. This happens to be Tip pixels.psd. I'm going to choose the Image Size command, Ctrl+Alt+I, Command+Option+I on a Mac. And we'll see that even though this image has a very high resolution, my goodness, 600 pixels per inch. That will ensure that we have very, very smooth edges associated with this wonderful photo illustration here.

Upsampling vs. nondestructive scaling

In this exercise, I'm going to show you the biggest benefit of all associated with vector-based paths inside of Photoshop, and i.e., that they are scalable. Meaning that you can increase the size of a photo illustration without any penalty. So, I still have open Tip pixels.psd and Type to vectors.psd, both found inside the 24_vector_shapes folder. I want to show you something about this image. I'm going to go up to the Image menu, and I'm going to choose, and it doesn't matter which image we're looking at right now. This happens to be Tip pixels.psd. I'm going to choose the Image Size command, Ctrl+Alt+I, Command+Option+I on a Mac. And we'll see that even though this image has a very high resolution, my goodness, 600 pixels per inch. That will ensure that we have very, very smooth edges associated with this wonderful photo illustration here.

But it's dinky; it's not even an inch. So it's a tiny, little, tiny thing, which is great, by the way, for having a margin icon or something along those lines. But let's say I'm so proud of my tip, and I want to shout that to the world and I'm going to be at a trade show. My goodness, I'm just making this up on the fly. I want a big, huge poster, draping down from the ceiling, so it's going to be gianormous, this word Tip, and nobody is going to be able to ignore it. So anyway, you'd think then, in that case, why gosh, if it's so darn scalable, I should just be able to zoom in on it, and it's going to look great, because you can't do that in the Illustrator, right? You can zoom in on your vectors and zoom all you want and they're going to look smooth forever. Well, not so in Photoshop. So, I'll go over to Type to vectors.psd. We're viewing the image at 100% right now. If I zoom in, I just get big, chunky pixels exactly as I would in the pixel-based version of the image.

What gives? Why am I seeing this mosaic pattern, especially after I was telling you how great and smooth and wonderful and awesome these vectors are? How come I'm lying to you? Well, I'm not. It's just that Photoshop tops out at 100%. Beyond 100%, no matter what you see bigger pixels. That's just the way Photoshop works. So how do we make this photo illustration bigger then? Well, we use the Image Size command. So let's check that out, because it's so darn cool. I'm going to go ahead and zoom back out to 100% by pressing Ctrl+ 1, Command+1 on the Mac. Let's switch over to Tip pixels.psd and let's try a side by side comparison, why don't we? Let's get rid of this Layers palette over on the side by pressing Shift+Tab, to make it go away. Then I'm going to go up to the Image menu, I'm going to choose the Image Size command, and I could press Ctrl+Alt+I, Command+Option+I on the Mac.

But I already told you that you can already see that, so let's get on with it. Here we are inside the Image Size dialog box and I'm just for the sake of demonstration going to set my Interpolation method here to Nearest Neighbor (preserve hard edges), just so that we can see it at its worst. I'm going to really zoom the heck out of this thing; I'm going to set it to 847 percent. Now, what is that going to shape out in pixels? I don't know if I showed you this little trick yet, it's pretty cool. If you go ahead and change this guy, from percent to pixels on the fly, it will say, "oh, you want 847 pixels," and by the way, this has gotten changed to pixels as well. So it changed both Width and Height. Then if you change it back to percent, it's going to goof the whole thing up, lovely feature. Anyway, I'm going to set this back to 847 percent.

Let's say you just want to change one of them, so I change the Width value to 847 percent. I have all these guys turned on; by the way, you want all the checkboxes on Scale, Constrain and Resample, Nearest Neighbor, if you're following along with me. With this active -- well, let's say I want to check out the pixels, without goofing things up the pixels associated with Height, and I want to leave 847 percent right there. So I'm going to press the Shift key, choose pixels. If you do that, then just Height changes the pixels and Width stays what it was, which is percent. You change one option independently of the other one, and that's a Shift-choose, by the way. It works with these guys too, these Width and Height values right there.

Completely weird, hidden trick inside Photoshop. The image will now be 4235 pixels high and it will also be that same number of pixels wide because it's square. That's a gianormous image. It's going to grow to 51 megabytes. That's going to be huge. So go ahead and click OK in order to make that occur. Now it's also going to look like garbage, look at that. I'm not even sure which part of the image we're looking at right here, so I'm going to take advantage of the bird's-eye technique, where you press and hold the H key, and then you click and hold, and then you scroll some other portion of your image with the H key still down, and then you release to go there, and then you release the H key. And you can see that looks like garbage.

So that's established, all right. Let's replay that exact same modification, on Type to vectors.psd. So I'm going to take advantage of that keyboard shortcut, Ctrl+Alt+I, Command+Option+I on the Mac. We'll change the percent, let's go ahead and change this percent right there to 847. Let's go ahead and try out Nearest Neighbor, really doesn't matter. Well, actually it does matter to a small extent. We do have some layer masks, some pixel-based layer masks going on inside of this image. So those will still be modified to the tune of Nearest Neighbor, but vectors are not affected by Image Interpolation. So we'll do nothing to the vectors as you'll see. I'll go ahead and click OK, except grow them beautifully. I'll go ahead and click OK in order to create my gianormous 51.3 megabyte image.

We will wait a moment for Photoshop to do its thing, and then, I'll go ahead and press and hold H, click and hold inside of my image. Drag over here, once it gets done redrawing things, it's a little slow in a redraw with a gianormous image like this. Then I'll release my mouse button and I'll release the H key and check that out. Now this guy right there, it's a little bit of garbage there. That's because I selected Nearest Neighbor and we did the Nearest Neighbor Interpolation, then a pixel-based layer mask.

But the vector outlines are crisp as they can possibly be. So, this is going to look beautiful, we can print this out now. And if I press Ctrl+Alt+I, Command+Option+I on a Mac, I'm now going to have a 7-inch image at 600 pixels per inch, but gosh, I was telling you I want a big poster. Well, we don't need that kind of resolution for a distant poster. So I'll turn off my Resample Image checkbox here and I'll say I want this to be like, 6 feet in inches. That's 72 inches, I believe. So we'll do it 72 inches wide, the Resolution is only going to be 58.819 pixels per inch. That's okay, click OK, and now this thing is going to be gianormous, it's going to be huge. Send it off to my service bureau, have them printed up.

I'm going to have some garbage-y edges right there. So, of course, what I'd really do, go ahead and back-step, Ctrl +Alt+Z, Ctrl+Alt+Z a couple of times, Command+Option+Z, Command+Option+Z couple times on the Mac. This word Tip having the path outlines around it, so let's go ahead and select a different layer right there. So with that, we're not going to be plagued by this in the future. Shift+Tab that away again, if we want to do it right, then I press Ctrl+Alt+I, Command+Option+I on the Mac. I would say Resample. Definitely scale those styles, because those styles are really integral to what's going on here. Change the percent to 847, what have you, whatever it is you want to use, then you can goof around with these options if you want to. We'll use Bicubic (best for smooth gradients) as our Interpolation method.

So our layer mask looks good, click OK. Wait for it to happen, press and hold the H key, drag up to there, release, release the H key and ooh! Oh! It's so beautiful! It's going to output just beautifully as well. So that's the kind of flexibility that's associated with scalable vector-based paths here inside Photoshop.

Show transcript

This video is part of

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

147 video lessons · 27712 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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