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Masking a woman from the background

From: Illustrator CS4 One-on-One: Advanced

Video: Masking a woman from the background

All right, we are still working inside of Photoshop, ladies and gentlemen, and for those of you who are thinking "hello! McFly, I'm under the impression that this is an Illustrator series. Will we by any chance be returning to Illustrator any time soon?" And the answer is yeah, pretty soon. We have got a few more exercises here inside of Photoshop because I really want to highlight a few things. First of all, one of many ways to go about preparing an image inside of Photoshop for use inside of Illustrator. But I want you to really understand, Photoshop excels at photographs in particular and pixels in general and that's where you do your pixel work and you get all of your pixel work done inside of Photoshop, if you are smart. Best practice before you bring the image into Illustrator where you can work the vector magic.

Masking a woman from the background

All right, we are still working inside of Photoshop, ladies and gentlemen, and for those of you who are thinking "hello! McFly, I'm under the impression that this is an Illustrator series. Will we by any chance be returning to Illustrator any time soon?" And the answer is yeah, pretty soon. We have got a few more exercises here inside of Photoshop because I really want to highlight a few things. First of all, one of many ways to go about preparing an image inside of Photoshop for use inside of Illustrator. But I want you to really understand, Photoshop excels at photographs in particular and pixels in general and that's where you do your pixel work and you get all of your pixel work done inside of Photoshop, if you are smart. Best practice before you bring the image into Illustrator where you can work the vector magic.

So I have to gone ahead and saved my progress as Masked filters.psd. In this exercise we are going to masking this woman away from her background. Now notice that she has got this shoulder with this hair sort of popping up in the background and actually it's a chair, isn't it? It's a very, very out of focus chair. That doesn't really serve my purposes. If you switch over to Illustrator and take a look at Final advertisement. ai also inside the 20_images folder, you will see that I masked her hair like so and then we have got a little bit of hair down here and then this things just sculpts through her shoulder.

So her shoulder is gone; we don't have shoulder over here. Instead we have got all kinds of wonderful, beautiful filigree. All right, so what I have done is I have made a decision. So, if you go over to the Channels palette, you can see the decision I made. Here is Hair Mask and I did a pretty darn good job of tracing her hair. Her hair was a little difficult to mask, because there's so much softness going on there. And I didn't really want to spend the rest of my life on the project so I did a basic hair mask and you can see that I'm tracing these hairs down there, and then I'm just sculpting right there, notice that.

So I'm tracing this line. I want you to see White represents the area that will be keeping, Black represents the area that will be going transparent, that we'll be getting rid of, and that means right there I'm making a cut and if I go back to the RGB image, by clicking on it, that cut goes right through this location there, and you can actually view the image in the mask at the same time by clicking on the eyeball in front of Hair Mask like so and you will see this edge right there. You may not see the mask represented in CYAN, the way mine is and may be represented in Red instead, but you should be able to make out this edge right there. Again that's just something I decided to do. All right, so what do I want you to do, I want you to go ahead and turn that hair mask Off, so we are just seeing the composite RGB image and I want you to Ctrl-click or Command-click in a Mac on hair mask in order to load it as a selection outline, because you have to convert things, the selection outlines and then back to masks often times inside of Photoshop.

That's a non-destructive modification, selection outlines and masks are actually under the hood the exact same thing Anyway go back to the Layers palette, smart object is active as you can see, make sure it is for you and then drop down to the bottom of the Layers palette and click on this little Add Layer Mask icon and you have converted the mask to a layer mask, so you have cut her away from the background. So, everything that appears checkerboard is transparent now and everything that doesn't appear checkerboard, where you don't see the checkerboard at all is completely opaque and then anywhere where you have some pixels and some checkerboard is translucency.

Now, if I were planning and compositing her against the different photographic image, this mask would not be the best mask on earth and you can learn all about that inside my Photoshop Channels and Masks series. However for the effect I'm about to achieve, it's going to work out very, very nicely indeed. In the next exercise I'm going to show you how to apply the Sepia effect using Independent Adjustment layers.

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This video is part of

Image for Illustrator CS4 One-on-One: Advanced
Illustrator CS4 One-on-One: Advanced

149 video lessons · 21492 viewers

Deke McClelland
Author

 
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  1. 28m 41s
    1. Welcome
      1m 7s
    2. Installing the dekeKeys keyboard shortcuts
      8m 59s
    3. Resetting the Function keys on a Mac
      4m 47s
    4. Installing the CS4 color settings
      4m 20s
    5. Loading the CS4 color settings in Illustrator
      6m 3s
    6. Loading the CS4 color settings in Bridge CS4
      3m 25s
  2. 1h 53m
    1. From the simple emerges the complex
      42s
    2. Introducing Pathfinder operations
      4m 17s
    3. Editing a compound shape
      4m 39s
    4. Adding to a compound shape
      3m 11s
    5. Inserting a subpath into a compound shape
      3m 56s
    6. Expanding a compound shape
      4m 53s
    7. Assembling primitives
      4m 42s
    8. Preparing a template in Photoshop
      7m 0s
    9. Uniting paths permanently
      5m 40s
    10. Minus Front vs. Minus Back
      1m 55s
    11. Working with compound paths
      6m 49s
    12. When in doubt, divide
      3m 54s
    13. Divide and Unite
      3m 2s
    14. Open path pitfalls
      5m 35s
    15. Strokes bad, fills good
      4m 38s
    16. Advanced Divide and Unite
      8m 59s
    17. Using the Crop operation
      8m 30s
    18. Expert Divide and Unite
      8m 45s
    19. "Ghosting" shapes with Fill Opacity
      6m 45s
    20. Anticipating and troubleshooting
      8m 16s
    21. Exclude and Intersect
      7m 24s
  3. 44m 59s
    1. Familiar one moment, different the next
      1m 3s
    2. Snapping to anchor points
      5m 41s
    3. Aligning a group to the artboard
      3m 34s
    4. Distributing objects on the artboard
      4m 16s
    5. Setting the key object
      4m 54s
    6. Distributing objects by space
      3m 6s
    7. Distributing objects by selections
      3m 19s
    8. Aligning point text
      6m 7s
    9. Aligning live text vs. using outlines
      4m 58s
    10. Aligning key letters
      3m 35s
    11. Aligning to key objects
      4m 26s
  4. 1h 4m
    1. CS4’s gradient renaissance
      1m 7s
    2. Applying a gradient
      6m 0s
    3. Dragging and dropping color swatches
      2m 55s
    4. Using the Gradient palette
      6m 27s
    5. Designing a shaded gradient
      5m 9s
    6. Saving a gradient swatch and adding a texture
      4m 2s
    7. Introducing the new Gradient tool
      4m 39s
    8. Editing color stops inside a shape
      3m 26s
    9. Setting multiple gradients to the same angle
      5m 0s
    10. Adding and adjusting radial gradients
      7m 20s
    11. Making a transparent gradient
      7m 6s
    12. Adding drop shadows (a kind of gradient)
      6m 28s
    13. Blends vs. blend modes
      4m 38s
  5. 1h 17m
    1. Creating freeform color flows
      1m 0s
    2. The power of CS4's transparent gradients
      10m 25s
    3. Creating a gradient mesh
      4m 30s
    4. Expanding a gradient to a gradient mesh
      7m 40s
    5. Adding and deleting rows and columns
      6m 13s
    6. Selecting and coloring points
      6m 5s
    7. Assigning colors with the Eyedropper tool
      7m 42s
    8. Cool mesh editing techniques
      3m 56s
    9. Warping and puckering a mesh
      7m 24s
    10. Applying precise finishing touches
      5m 48s
    11. Gradient strokes
      9m 45s
    12. Gradient text
      6m 50s
  6. 55m 35s
    1. The first of the dynamic functions
      1m 4s
    2. Making a blend automatically
      5m 48s
    3. Fixing problem blends
      3m 56s
    4. Making a blend with the Blend tool
      3m 6s
    5. Cloning and coloring a blended path
      4m 37s
    6. Creating a mask
      3m 53s
    7. Blending between translucent shapes
      5m 30s
    8. Blending along a curve
      4m 34s
    9. Adjusting the speed of a blend
      2m 58s
    10. Filling and stroking a mask
      4m 36s
    11. Creating a compound clipping mask
      6m 3s
    12. Nesting one clipping mask inside another
      6m 7s
    13. Ghosting nested masks and blends
      3m 23s
  7. 1h 13m
    1. Patterns that repeat forever and ever
      51s
    2. Introducing tile patterns
      6m 36s
    3. Beginning a core design
      5m 6s
    4. Building an interlocking element
      6m 25s
    5. Achieving precise radial symmetry
      4m 46s
    6. Rotating duplicates around a common center
      3m 10s
    7. Determining how a pattern repeats
      9m 54s
    8. Coloring the core objects
      5m 0s
    9. Identifying the rectangular tile
      7m 14s
    10. Saving tile patterns
      7m 19s
    11. Applying tile patterns to a shape
      3m 25s
    12. Protecting patterns from transformations
      7m 36s
    13. Moving patterns without paths
      5m 51s
  8. 1h 19m
    1. Illustrator gets natural
      1m 15s
    2. Introducing the vector painting tools
      3m 16s
    3. Calligraphic brush options
      4m 3s
    4. Pressure sensitivity
      5m 17s
    5. Editing a calligraphic brush
      5m 53s
    6. Repainting and smoothing paths
      5m 30s
    7. Making the paintbrush behave
      6m 16s
    8. Erasing stroked paths
      3m 17s
    9. Painting with the new Blob brush
      6m 24s
    10. Refining filled paths with the Eraser
      4m 14s
    11. Painting independent paths
      3m 53s
    12. The Selection Limits Merge options
      3m 20s
    13. Applying and scaling an art brush
      6m 23s
    14. Snipping a brushed path
      4m 55s
    15. Colorizing an art brush
      4m 9s
    16. Heaping a stroke on an art brush effect
      4m 32s
    17. Creating a custom art brush
      6m 51s
  9. 1h 44m
    1. The computer art world’s dynamic duo
      1m 7s
    2. Copying and pasting pixels from Photoshop
      7m 21s
    3. Linking is efficient, embedding is not
      2m 47s
    4. Editing an image in Illustrator
      7m 30s
    5. Filtering an image in Photoshop
      6m 34s
    6. Adding a filter mask in Photoshop
      6m 25s
    7. Masking a woman from the background
      3m 49s
    8. Creating a sepia effect
      6m 37s
    9. Adding a second gradient map layer
      2m 13s
    10. Achieving a graphic effect with Levels
      8m 10s
    11. Preparing an image for use in Illustrator
      5m 46s
    12. The importance of image resolution
      9m 40s
    13. Placing and linking images
      4m 43s
    14. Managing linked images
      6m 18s
    15. Integrating an image into a design
      5m 12s
    16. A better way to wrap text
      7m 28s
    17. Previewing the trim size
      4m 25s
    18. Layer comps and editable text
      8m 42s
  10. 2h 11m
    1. Transparency is safe and fun
      1m 27s
    2. Introducing the translucent composition
      4m 39s
    3. Assigning opacity to an Appearance attribute
      3m 41s
    4. Creating a knockout group
      5m 7s
    5. Defining an opacity mask
      7m 15s
    6. Using the Clip checkbox
      2m 41s
    7. Opacity mask tips and tricks
      3m 20s
    8. The Multiply blend mode
      6m 8s
    9. Adding to an existing opacity mask
      7m 53s
    10. Blending between parallel groups
      7m 27s
    11. Creating a gradient opacity mask
      4m 54s
    12. Employing an opposing gradient mask
      7m 57s
    13. Combining Multiply and Screen
      3m 49s
    14. Blend mode roundup
      5m 24s
    15. Mixing blend modes inside a single path
      3m 48s
    16. Blend mode and transparent gradient
      3m 49s
    17. Masking an entire layer
      7m 0s
    18. Combining Screen with 100K Black
      7m 43s
    19. Knocking out a drop shadow
      5m 18s
    20. But will it print?
      3m 8s
    21. Working with the Flattener preview
      8m 44s
    22. Rasterizing an illustration in Photoshop
      9m 16s
    23. Super-rich blacks and raster effects
      3m 35s
    24. Exporting TIFF artwork from Illustrator
      7m 48s
  11. 58s
    1. Until next time
      58s

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