10. Masking EssentialsWelcome to Photoshop CS3 One-on-One: Beyond the Basics| 00:00 | Remember Evil Knievel? He was the motorcyclist who was so evil
he jumped over things. A bunch of really big things all in a row.
| | 00:08 | Like cargo vans, buses, the Snake River Canyon. He once jumped
over 27 Las Vegas casinos stacked on top of each other. On fire.
| | 00:17 | That's how evil he was.
| | 00:19 | Hello, I'm Evil McClievil.
| | 00:22 | Well, Deke McClelland. Here to welcome you to Part 2 of the most
comprehensive videos series yet attempted on the subject of Photoshop.
| | 00:29 | It's my way of jumping over 27 of the most essential concepts
in the realm of image-editing and photographic manipulation.
| | 00:37 | On fire. It's a little thing I like to call Photoshop CS3 One on One.
| | 00:42 | The topic of this next chapter, Chapter 10
in the grand order of things, is masking.
| | 00:47 | Perhaps you've heard of masks. Or maybe you've heard them called
friskets, or mattes, or alpha channels. Whatever you call them,
| | 00:54 | a mask is essentially a selection outline represented as
a black-and-white image. White indicates the selected area,
| | 01:01 | black indicates the deselected area.
| | 01:04 | While that probably sounds strange, masks are really powerful.
They allow you to communicate with Photoshop on a much deeper
| | 01:10 | level than anything we saw in Part 1.
| | 01:12 | Remember that flower analogy back in Chapter 8? There's a
flower, you want to reach out and select it? Well once you
| | 01:19 | understand the language of masking, you can tell Photoshop
to select that flower. It may require a long conversation and
| | 01:25 | there may be some misunderstandings along the way,
| | 01:28 | but with a little time you'll understand how to translate
your vision of the world into something Photoshop can
| | 01:33 | recognize as well. Masking is the art
of using the image to select itself.
| | 01:38 | Now masking is a vast topic. Not as vast as the Snake River
Canyon, but still vast. So vast that I give it an entire series.
| | 01:46 | The 20 plus hour Photoshop Channels and Masks freely available
to lynda.com subscribers as part of the Online Training Library.
| | 01:54 | What you're about to see here in this
series is an introduction to masking
| | 01:58 | and as always, it's on fire.
| | 02:00 | Ladies and gentlemen, these are the essentials of masking.
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| Selecting glass and water| 00:00 | Okay gang, are you ready to begin masking inside Photoshop?
| | 00:04 | This is an alarmingly fun topic I must warn you, at least I think
it's fun, this is my "Oh my gosh, am I going to have fun" voice.
| | 00:14 | I hope you have got your own "My gosh,
I am going to have fun" voice on too.
| | 00:18 | Here's the idea.
| | 00:19 | We are going to be starting things off with a little bit
| | 00:22 | of a selection masking hybrid function inside the Photoshop
that's known as the Color Range command and I will introduce you
| | 00:29 | to that command in the very next chapter
but first I have to set the stage here
| | 00:34 | and I would like you to work with me in that endeavor.
| | 00:37 | I want you to open up Splash In Glass.jpeg. It's
available to you inside the 10 Masking folder.
| | 00:44 | And this image comes to us from photographer Chris O'Driscoll and
we are going to be selecting this glass and this water, believe it
| | 00:51 | or not, with all of its translucency
intact and we are going to be moving it
| | 00:56 | into this background right here, this StartPattern.jpeg
background, also available to you inside of the 10 Masking folder.
| | 01:03 | This beautiful image comes to us from Harold Fila.
| | 01:06 | and I want to show you what the final
composition is going to look like.
| | 01:09 | I am going to Shift+Tab away my palettes,
here it is right there this gorgeous image.
| | 01:14 | I am going to go ahead and press the F
key in order to enter the Maximize mode.
| | 01:18 | Notice that we can not only see the star field in the background,
is that not awesome, but we can also- I am going to go ahead
| | 01:25 | and zoom in on it. We can see this big star inside of
the glass here and if you move up you can see a bunch
| | 01:32 | of little stars inside of the water. Is that not radically
cool? And that is a function of masking inside Photoshop
| | 01:43 | as it turns out that's how powerful masking is.
| | 01:45 | Now I am going to zoom back out here
because I want you to notice something.
| | 01:49 | Even though it may look like we have a little bit of
distortion going on inside of the water and inside of the glass
| | 01:55 | because we have got this big old star inside the glass here,
there is no distortion going on, this is simple masking;
| | 02:02 | we are just keeping the highlights
and the shadows and that's about it.
| | 02:05 | Anything else that you are seeing is your mind making it up.
| | 02:09 | But that's okay, I will accept that.
| | 02:11 | It's okay if your viewer goes ahead and imagines that
there is more to your image than is actually there.
| | 02:17 | Alright I am going to press Shift+F in order
to return to the multi image window mode here
| | 02:22 | and I am going to click on Star Pattern and SplashInGlass.
| | 02:26 | Those are the images that we will be working with.
| | 02:27 | I am going to Shift+Tab back my palettes here so that
we can see those palettes on right hand of the screen.
| | 02:33 | Now you might think if you didn't know better that the best
way to approach this image would be maybe the Magic Wand tool
| | 02:41 | and just so you can get a sense of what a rotten choice that
is for this particular image let's go ahead and try it out.
| | 02:47 | I am going to go over to the Quick Selection
tool slot and select the Magic Wand tool
| | 02:53 | and I still have my tolerance set
to 12 from way back in Chapter 8.
| | 02:58 | So I am going to operate on a theory here
that it's easier to select the background
| | 03:02 | than the foreground where this image is concerned.
| | 03:04 | So I am going to go ahead and click in the
background and I select quite a bit of it
| | 03:08 | and then maybe I will Shift Click inside the glass and maybe
Shift Click inside this area as well because I am trying
| | 03:14 | to Shift Click away things that look
sort of like background colors.
| | 03:18 | And oh I will Shift Click inside the water too what
the heck and maybe Shift Click here gosh I don't know.
| | 03:24 | I really don't know what I am doing at this point
because I mean really what are you going to do
| | 03:28 | with the Magic Wand tool, what is
it you are trying to accomplish?
| | 03:32 | How are you going to approach such an enormously
complicated image and keep its transparency intact?
| | 03:37 | Anyway, I am doing my best here.
| | 03:39 | I think I will now go up to the Select menu and I will
chose the similar command in order to grow that selection
| | 03:45 | to include non-adjacent pixels and that gets me it looks
like I have gotten the majority of the backgrounds selected.
| | 03:52 | Now I will go ahead and switch to the foreground image
by choosing the Inverse command from the Select menu.
| | 03:59 | I will now go ahead and get my Move tool here so that
I can move the selection into a different background,
| | 04:05 | I will make sure that my Move tool cursor is
inside the selected area and I can tell when I see
| | 04:11 | that little scissors icon in the
bottom right corner of the cursor.
| | 04:17 | And then I will go ahead and drag the glass like cell into
the other image, press the Shift key and drop it into place.
| | 04:25 | So I register the glass into its new background because
the two images are pixel for pixel the same image size
| | 04:32 | and that looks terrible as it turns
out I would go so far as to say.
| | 04:37 | Not only do we have some just horribly jagged
transitions as if the glass is horribly broken
| | 04:43 | but also we have done a pretty bad job of
selecting the colors that we need to keep
| | 04:48 | and I have got some weird little black things
going on as if some sort of tobacco ash
| | 04:54 | or something along those lines is flying out of the glass here.
| | 04:57 | This is no good.
| | 04:58 | I would go so far is to say the Magic Wand was a bomb.
| | 05:02 | So I am going to go ahead and Undo the addition
of that glass into that star background.
| | 05:07 | Here's the deal.
| | 05:09 | There is a much better way to work that gives you much better
results and turns out to be easier as well and we are going
| | 05:16 | to investigate that much better easier
method in the very next exercise.
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| Establishing a base layer| 00:01 | In this exercise, we are going to lay down a Base Layer
that's going to convey much of the highlight and shadow detail
| | 00:07 | about the glass, so that we can then build on that
Base Layer in order to create the final effect.
| | 00:14 | Now, as before, I have opened the starpattern.jpeg
image that's found inside the 10 masking folder.
| | 00:20 | I also have from that same folder; I have
opened this splashinglass.jpeg image.
| | 00:26 | And I have a little bit of a magic one selection
outline going on from the previous exercise.
| | 00:32 | I don't really need it, we saw how bad it is.
| | 00:35 | But I want to point out something about the
Move tool that you might find of interest.
| | 00:39 | Notice the appearance of the cursor when I have the Move tool
cursor inside the selection, that looks like a black arrowhead
| | 00:46 | with a pair of scissors next to it, and then indicates that
I will move just the selected portion of the image, like so.
| | 00:53 | Alright, I am going to undo that
modification and put the glass back.
| | 00:56 | Now, if I move my cursor outside of the
selection, then it appears as a black arrowhead
| | 01:02 | with a little four-way arrow cursor thing,
like a compass rose or something next to it,
| | 01:08 | and that shows me that I am going to move the entire image.
| | 01:12 | So I want you to go ahead and do that.
| | 01:13 | I want you to go ahead and drag that entire image,
regardless of whether you have a selection outline
| | 01:18 | or not into the star pattern background, then press the Shift
key, press and hold that Shift key and drop the glass into place.
| | 01:25 | And notice the entire glass comes over and the
selection outline does not come over with it.
| | 01:30 | So you just get the entire glass, and that's
all, which is good, we want that entire glass.
| | 01:36 | We do not want that obnoxious magic one
selection, it was no good for our purposes.
| | 01:42 | Now, notice that Photoshop has thoughtfully
put the glass on an independent layer
| | 01:46 | above the star pattern that appears on the background layer here.
| | 01:50 | Let's go ahead and double-click on the words Layer One and we
will rename this layer something along the line of base glass,
| | 01:58 | and then press the Enter or the Return
key in order to accept that modification.
| | 02:02 | Notice the word Normal here inside the Layers
pallet, if you click on the word Normal,
| | 02:07 | you are going to reveal a list, a very long list of blend modes.
| | 02:11 | Now, we are going to examine all of these blend
modes in glorious detail in a forthcoming chapter,
| | 02:18 | another one of those really exciting topics as it turns out.
| | 02:21 | But for now, I just want you to blindly
select this guy right here Hard Light.
| | 02:26 | And the Hard Light mode is going to retain
the highlights and retain the shadows
| | 02:31 | and drop away the midtones to reveal the layer below.
| | 02:36 | Now, it doesn't reveal the ton of the layer below because
the image is so very dark, that background is so dark,
| | 02:42 | so we need to reduce the opacity of this layer a little bit.
| | 02:46 | Now, notice that the Hard Light mode
remains active here on the PC.
| | 02:50 | So I will press the Escape key in order to make it
inactive, on the Macintosh side, you don't have to do that.
| | 02:55 | Then, I am going to press the 8 key to reduce the
opacity value to 80%, you can see that right there.
| | 03:02 | Pressing a number key when anyone of these selection
tools is active affects the opacity of the active layer.
| | 03:11 | So I just reduce the opacity of the layer to 80%.
| | 03:14 | It's a little more palatable now.
| | 03:15 | We can see through to the star layer in the background.
| | 03:19 | We can see some night's rich shadows.
| | 03:22 | However, our highlight, it seems to me, are
a little bit weak and I am going to go ahead
| | 03:26 | and Shift+tab away those pallets once again, so that we can
compare this star pattern composition that I have created so far
| | 03:33 | to the final composition that I am going for, this is the
glass-on-pattern image, also found inside the 10 masking folder
| | 03:39 | and you can see how much better those highlights are.
| | 03:42 | And that's a function of having selected
the highlights and move them over again
| | 03:48 | in a separate pass into the star pattern background.
| | 03:51 | And we are going to do exactly that using the
Color Range command beginning in the next exercise.
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| The Color Range command| 00:01 | Alright, a brief recap, I went ahead and dragged and
dropped the glass image into the star background,
| | 00:07 | then I set the new base glass layer to the Hard
Light Blend mode and 80% opacity that allowed me
| | 00:13 | to retain the base shadows and highlights from the glass image.
| | 00:17 | Dropped away many of the midtones in order
to reveal the star pattern in the background.
| | 00:22 | Problem is that my highlights lack, I want them to appear as nice
bright glint to go along with these stars in the background here.
| | 00:32 | And I am going to do that by returning to the splash-in-glass
image here that you can find inside the 10 masking folder.
| | 00:40 | And I am going to select the highlight using the
wonderful naturalistic organic Color Range command.
| | 00:47 | But before we can do that, we need to get rid of our existing
selection outline, otherwise the Color Range command will try
| | 00:52 | to select inside of the existing
selection and that would be a disaster.
| | 00:57 | So go ahead and press Ctrl+D or Command+D on the Mac
| | 01:01 | to decimate any existing Magic Wand selection
outline in the event you created one.
| | 01:06 | And now, I am going to switch back to the Marquee tool
just so that I have this nice simple cross cursor.
| | 01:12 | Then I am going to press the F key
in order to enter the Maximize mode.
| | 01:16 | Then, I am going to go up to the Select menu.
| | 01:18 | I invite you to do the same and choose
the Color Range command right here.
| | 01:23 | And I think so highly of this command that I have
gone ahead and assigned a custom keyboard shortcut.
| | 01:28 | If you loaded my D-key shortcuts, then you will see that
you can access the command by pressing Ctrl+Shift+Alt+O
| | 01:35 | or Command+Shift+Option+O on the Mac, and that
brings up the Color Range command right here.
| | 01:41 | Now, your preview may look different
than mine, don't worry about that at all.
| | 01:46 | Just know that this command works a lot like the Magic Wand tool.
| | 01:51 | It's basically the Magic Wand on steroids as it turns out.
| | 01:55 | Move your 1:56 EyeDropper cursor, notice you have got a little
EyeDropper cursor here, move it out into the larger image window
| | 02:01 | and then click on any old color inside of the image.
| | 02:06 | And what that does is that goes ahead and nails that
clicked pixel as the base color for your selection just
| | 02:13 | as if you had clicked on that pixel with the Magic Wand tool.
| | 02:18 | But instead of seeing a new selection outline,
you will see this mask preview right here,
| | 02:23 | it's a little difficult to see what's going on.
| | 02:25 | So I am going to click inside the background instead
like so, and then I am going to add to the selection.
| | 02:31 | I am going to add another base color by
pressing the Shift key and clicking again.
| | 02:36 | You may recall that Shift-clicking with the Magic Wand added a
base color, well that's exactly what happens when you Shift-click
| | 02:42 | with this little EyeDropper cursor hare when you are using the
Color Range command, you add base colors to your selections.
| | 02:49 | So I am going to go ahead and click a few times.
| | 02:51 | You can also Shift+Drag, as it turns out, to add colors on
the fly, something that you can't do with a Magic Wand tool,
| | 02:58 | there is a lot of stuff that the Color Range
command can do that that the Magic Wand can't do.
| | 03:03 | Now, check out this little Preview inside the dialogue box.
| | 03:06 | It's showing you the selection as a mask.
| | 03:10 | So instead of showing you the selection using marching
ants, which are really actually not very helpful,
| | 03:15 | it's showing you the selection as a very helpful mask.
| | 03:18 | And you may recall when we are reading a mask, white
means selected pixels, black means deselected pixels
| | 03:25 | and gray means intermediate degrees of selection.
| | 03:29 | So you can have nice naturalistic transitions
between your selected and deselect areas.
| | 03:36 | Now, other things you can do, you can also by the
way Shift-click inside of the preview if you want to
| | 03:41 | and Shift+Drag inside the preview as well in order to add colors.
| | 03:47 | And if you add too many colors like this, I have gone way too
far at this point, then there is a couple of things you can do.
| | 03:52 | One is you can press Ctrl+Z or Command+Z on the
Mac in order to take advantage of your one level
| | 03:58 | of Undo that's available to you inside
the Color Range dialogue box.
| | 04:02 | The other option is you can press the Alt key or the Option Key
on the Mac and click on a color to remove it from the selection.
| | 04:11 | And you can even Alt or Option+Drag if you want
to, I am not going to do that because I get rid
| | 04:15 | of pretty much my entire selection if I were to do that.
| | 04:18 | But that is an option so you can subtract
base colors from the selection by Alt
| | 04:23 | or Option-clicking just as you can with the Magic Wand.
| | 04:26 | Alright, I am going to go ahead and Shift-click in
order to add back a little bit of base color here.
| | 04:32 | Notice now this fuzziness value that's
at the top of the dialogue box,
| | 04:37 | it's analogous to the tolerance value
associated with the Magic Wand tool.
| | 04:40 | So in this case, our default value of 40 is saying that Photoshop
is going to go ahead and select 40 luminance levels brighter
| | 04:47 | and 40 luminance levels darker than my base
colors that I clicked and Shift-clicked on.
| | 04:54 | But there is two differences between fuzziness and tolerance.
| | 04:57 | For one, fuzziness is a dynamic control so it works on the fly.
| | 05:01 | Notice that as I raise that fuzziness value,
Photoshop goes ahead and adds to the selection.
| | 05:08 | On the fly, it's not a static control
as it is with the Magic Wand tool.
| | 05:12 | Secondly, I will go ahead and switch
this selection preview here to grayscales
| | 05:17 | so that we can see the mask big and
beautiful here inside the image window.
| | 05:21 | Notice that we have got all kinds of grays at our disposal and
that is because fuzziness is an incremental selection control
| | 05:30 | so it doesn't go ahead and select all 138 of these luminance
levels in each direction, it incrementally selects them,
| | 05:38 | so that only the colors that we clicked and
Shift-clicked on, only our base colors are 100% selected,
| | 05:45 | the other colors are slightly less and less selected as we move
farther and farther away from them in terms of luminance levels
| | 05:52 | until we get 138 luminance levels away in either direction, at
which point the pixels are not selected at all, they are black.
| | 06:01 | Now, that's great because it means that the
Color Range command is doing an amazing job
| | 06:05 | of matching the organic information inside the image.
| | 06:09 | So it will result in a naturalistic selection outline,
something you can't really achieve using the Magic Wand tool.
| | 06:16 | Alright, I am going to change that selection preview back to
none so that we can see the full color version of the image.
| | 06:22 | The final thing I am going to tell you about here is this
invert checkbox, which allows you to reverse the selection.
| | 06:28 | So it's just like the Inverse command under the Selection menu.
| | 06:32 | Those are the important controls
inside the Color Range dialogue box.
| | 06:35 | We will put those controls to work to select the highlights
inside of the image inside the very next exercise.
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| Selecting sparkles| 00:00 | Alright kids let's set about selecting those sparkles by which I
mean the highlights in the water and these little water droplets
| | 00:08 | that spring out here and inside of the
glass and along the tabletop as well.
| | 00:14 | And we are going to do that by For Starters clicking inside of
the Highlights so go ahead and locate a very bright highlight
| | 00:22 | like this white area at the base of the glass
here where you see my eyedropper floating around.
| | 00:28 | Go ahead and click at that location to load that as a base color.
| | 00:32 | Then I want you to Shift click on one of these sort of light
purple areas like this item that's running along near the base
| | 00:39 | of the glass and if you want to you can Shift click
elsewhere you can Shift click inside some of these sort
| | 00:45 | of white bubble areas this little bit of
foam here that's flying off of the water.
| | 00:49 | I am going to Shift drag around some of these very
light purple areas just to make sure that I have all
| | 00:55 | of the highlights selected and you can see
that every once in a while I add highlights
| | 01:00 | to my selection here inside the preview
area and this actually looks pretty good.
| | 01:06 | The only thing is I would like to tamper the fuzziness
just slightly, I have got it raised way the heck up there,
| | 01:10 | let's take it down to 125 and this looks
like a pretty good selection to me.
| | 01:16 | You can see that we have done a nice job of isolating the
highlights in sparkles inside of the water and glass and so on
| | 01:25 | and if you want to check out the integrity of your
selection in the big image window then go ahead
| | 01:30 | and choose the gray scale option to see
the mask version of the selection outline.
| | 01:36 | You can also view the selected area against black if
you like to get a sense of what it's going to look like
| | 01:42 | or against white or as a Quick Mask Selection.
| | 01:45 | This is what white would look like by the way not all that
helpful because we are seeing basically white on white here
| | 01:51 | but black is pretty good, black gives me a
sense of where I am going with this image
| | 01:56 | and I have done I think a very nice
job of selecting those highlights.
| | 02:01 | And notice these gradual drop-offs totally a wonderful function
of the Color Range Command that's something like the magic wand
| | 02:09 | and for that matter all of the other selection tools can't match.
| | 02:13 | Alright so we have done it, we have selected the highlights.
| | 02:16 | If you want to, you can go ahead and
save the selection for later use.
| | 02:19 | Now this doesn't actually save the selection as an alpha channel
as we saw back in Chapter 8 instead it just saves our settings,
| | 02:26 | it goes ahead and saves the fuzziness setting
and it saves my base colors and that's it.
| | 02:31 | And it's just a special file that you can open inside the
color range dialog box and nowhere else inside Photoshop.
| | 02:37 | So I don't really see any real purpose in clicking Save
however if you can't get the same results that I am getting,
| | 02:43 | you could click on the Load button
and load My Highlights settings
| | 02:48 | that I have saved for you inside of that 10 Masking folder.
| | 02:51 | But I am just going to go ahead and click OK because
I have set up the selection beautifully I must admit.
| | 02:58 | And as soon as I do click OK notice that Photoshop converts
the mask that I was just seeing a moment ago to a Marching
| | 03:05 | and Style Selection Outline which is ready to go
and we are going to drag and drop this highlights
| | 03:12 | into the Star Pattern Composition, when,
in the next exercise, that's right.
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| Setting sparkles to Screen| 00:01 | Alright, drumroll please, it's now time to add our
selected sparkles to the star pattern composition.
| | 00:08 | I am going to print Shift+F to restore the
multi-window mode here and I am going to press Shift+Tab
| | 00:15 | to hide the palettes on the right-hand side of the screen.
| | 00:17 | We can now see both this splash-in-glass
image and the starpattern.jpeg image
| | 00:23 | which has been built into a two-layer composition.
| | 00:26 | I am going to return to the splashinglass.jpeg image.
| | 00:30 | Notice that my Marquee tool is active and it's active for
a reason because I want to show you yet another cool trick.
| | 00:37 | Now, I have shown you this in the past.
| | 00:38 | If you just set about dragging the
selection with one of the selection tools,
| | 00:42 | you are going to move the selection independently of the
pixels and you are going to get sort of this ghost image here.
| | 00:49 | So go ahead and undo that modification,
return to this splash-in-glass image.
| | 00:54 | If you want to move the pixels, you have to grab the Move tool
or take advantage of this ultra wonderful keyboard trick here,
| | 01:02 | press and hold the Control key on the PC or the Command
key on the Mac to get the Move tool temporarily when just
| | 01:09 | about any other tool is active inside of Photoshop, any but
these guys right here, so any of the painting or editing tools,
| | 01:17 | any of the selection functions and any of these
navigation functions down at the bottom of the toolbox.
| | 01:23 | Alright, so I still have the Control key down.
| | 01:25 | You Macintosh people, make sure that
you still have the Command key down.
| | 01:29 | Then I am going to move my cursor inside of the selected area,
so I get a little black arrow with a pair of scissors next to it.
| | 01:36 | I will now drag the selection.
| | 01:38 | I still have the Control key down by
the way or the Command key on the Mac.
| | 01:41 | Now, you can release that Control or Command key if you want
to, keeping the Mouse button down, press and hold the Shift key,
| | 01:49 | now release your Mouse button and now release Shift.
| | 01:53 | Did you get that?
| | 01:54 | I am just going to review that again because
it's so many wacky keyboard things happening,
| | 01:58 | but it really is a useful function, I use this one all the time.
| | 02:01 | Once you get used to it, you will use it.
| | 02:03 | So I am going to press and hold the Control key again, the
Command key on a Mac, move my cursor inside of the selected area.
| | 02:10 | I still have Control or Command down.
| | 02:13 | I am now doing to set about dragging the image into its new home.
| | 02:17 | I still have my Mouse button down at this point.
| | 02:19 | I release the command or control
key because I don't need it anymore.
| | 02:22 | Then I press and hold the Shift key.
| | 02:25 | I release my Mouse button and now I release the Shift key.
| | 02:27 | Could it be more simple, I ask you?
| | 02:30 | Is it not absolute child's play?
| | 02:33 | Alright, I will press the F key at this point to
restore the Maximize screen mode and I am going
| | 02:39 | to Shift+tab my palettes, bring them back into view.
| | 02:42 | Now, this isn't necessarily the best integration of
my highlights along with the rest of the composition.
| | 02:51 | But you have to admit we have some awfully
naturalistic edges going on, some nice soft drop-offs.
| | 02:57 | Now, for the integration, here is
how we are going to pull it off.
| | 03:00 | Go to the Layers palette, make sure
the Layers palette is up on screen.
| | 03:03 | Let's go ahead and rename this layer Sparkles, if you will.
| | 03:09 | And then I am going to change the blend mode from normal.
| | 03:12 | Go ahead and click on the word Normal and change it to the
screen blend mode, which is going to retain the highlights
| | 03:18 | and merge those highlights into their new home, like so.
| | 03:22 | Is that not awesome?
| | 03:24 | Alright, so I am going to press the Escape key in order
to deactivate the word Screen here in the Layers palette.
| | 03:29 | You Macintosh people, don't have to
do that, that's a Windows-only thing.
| | 03:33 | Now, I am going to back out so that we can
see the final version of the composition.
| | 03:38 | This is what it looked like before we applied the screen mode,
| | 03:40 | this is what it looks like after we have this
wonderful integration of the highlights and the shadows
| | 03:47 | and the midtones dropping out in order to
reveal the star pattern in the background.
| | 03:52 | We can see through the glass into this big star.
| | 03:55 | We can see through the water into
the tiny little stars back here.
| | 04:00 | It's an amazing composition.
| | 04:02 | I am going to go ahead and tab away my palettes so we can see
the entire thing and press the F key a couple of times to switch
| | 04:08 | to the Full Screen mode, an amazing composition.
| | 04:11 | Thanks to the Color Range command, the simple but
elegant Color Range command here inside Photoshop.
| | Collapse this transcript |
| Selecting and compositing hair| 00:00 | Now, the Color Range command is an excellent
introduction to the topic of masking but it's just that.
| | 00:05 | In the introduction, masking is much, much
larger than that is we are about to see.
| | 00:10 | Over the course of these next exercises, I am going to
show you how to create what I call a full-blown mask,
| | 00:18 | by which I mean we are going to examine the
colors inside the image and we are going
| | 00:22 | to generate an alpha-channel-based mask from those colors.
| | 00:27 | We are going to use the image to select itself.
| | 00:30 | And to that end, I want you to open up three images in all.
| | 00:33 | We have faceinthedark.tiff, desertbackdrop.jpeg and winswept.psd,
all available to you inside of the 10 masking folder.
| | 00:45 | I am going to go ahead and press the F key in order to enter the
Maximize mode so that we can check out each one of these images.
| | 00:52 | This first one here, this portrait of this woman with all the
hair and stuff, comes to us from photographer Pascal Genest,
| | 01:00 | and it's an amazing image from a masking vantage point.
| | 01:04 | Notice that we have a couple of things going on,
not only do we have some very tiny tendrils of hair
| | 01:11 | that are sharply focused here toward the
top of the image, but if you scroll down,
| | 01:16 | you will see this Hairsetter outside the focal
range and therefore are extremely blurry,
| | 01:22 | which is something you can only accommodate using a mask.
| | 01:25 | You can't select blurry details using standard selection
outlines, you have to go for a mask if you want to be able
| | 01:32 | to blend this kind of blurry information with
this kind of sharp information especially.
| | 01:37 | Alright, so I am going to zoom out a little bit here.
| | 01:40 | We are going to take this image and we are
going to composite it against this background.
| | 01:44 | This is a desertbackdrop.jpeg file by the way,
which comes to us from photographer M. Lenny.
| | 01:50 | He goes by the handle mlenny@istockphoto.com.
| | 01:55 | And then, here is the final composition.
| | 01:58 | This is the file that goes by the name winswept.psd and I have
managed to convey all of the hair inside of that first image,
| | 02:08 | inside the Pascal Genest image, whether
softly focused or sharply focused.
| | 02:13 | So here is all the soft information, we have a little bit of
an edge going over here, but you will have to forgive me that
| | 02:19 | and I'll show you how we got this good,
actually how we made things look this good.
| | 02:24 | But these hairs right there, no edge
whatsoever, look just totally awesome.
| | 02:29 | And then, finally, go ahead and scroll up and you
will see these tiny, tiny little hair tendrils,
| | 02:35 | some hairs of which don't even look to be a single pixel-wide.
| | 02:40 | So we just have this tiny bit of partial selection
going right there until we get to the tip of the hair,
| | 02:47 | which is exactly the way the hair looks inside the
original image, so it's amazing that we are able to pull
| | 02:52 | that off using masking inside the
Photoshop as we are about to learn.
| | Collapse this transcript |
| When Color Range falls short| 00:01 | Now remember how at the outset of the first exercise of this
chapter I showed you how the Magic Wand tool was is no way,
| | 00:07 | shape or form powerful enough in order to select
that glass and that water and all that Chas.
| | 00:13 | Well now I would like to show you how the Color
Range command sometimes falls down in the job too.
| | 00:18 | Even though it's a much more powerful feature
than the Magic Wand it isn't up to the task
| | 00:24 | of selecting every image out there by a darn site.
| | 00:28 | So make sure that you have the faceinthedark.tif image
opened so we can see the Pascal Genest photograph.
| | 00:35 | I would also like you to go ahead and the press the
D as in default colors key, just D by itself in order
| | 00:41 | to reset the foreground color to black or at least to make sure
it's black if it already was and the reason I am having you do
| | 00:48 | that is I want to go ahead and select black inside the image.
| | 00:52 | This is another one of those images where it's easier to
select the background than it is to select all the colors going
| | 00:57 | on in the foreground and the Color Range command
will by default go after that foreground color.
| | 01:04 | So now let's go up to the Select menu and choose the Color Range
command and these are the usual default settings fuzziness of 40
| | 01:12 | and all that Chas and notice that sure enough it is gone
ahead and made the black areas of the image white in order
| | 01:19 | to demonstrate to us that, that's the
portion of the image that's going to select.
| | 01:23 | Now I am going to change the selection preview by the way to grey
scale so that we can really focus in on what this selection looks
| | 01:30 | like out here inside of the image window and notice that
it's not only selecting blacks over here in the background
| | 01:36 | over on the left side of the image but it's also selecting the
shaded portion of the face on the right side of the image as well
| | 01:43 | as some of the shading here in the hair and that's because
the Color Range command is always selecting any colors
| | 01:51 | that fall inside of its fuzziness range
whether they are adjacent or non-adjacent.
| | 01:55 | So remember that contiguous checkbox we saw then in Chapter8 that
contiguous checkbox that's associated with the Magic Wand tool.
| | 02:02 | Well it's as if that checkbox is always turned off so that the
Color Range command is invariably selecting on adjacent pixels
| | 02:11 | and there is nothing you can do about that, which is a little
bit of a downside actually associated with this command frankly.
| | 02:18 | Alright another weirdness is that it's getting a lot of noise.
| | 02:21 | I am going to ahead and zoom in on this image, see all
this weird sort of pixel variation that's going on here,
| | 02:27 | that's digital noise inside of the mask and the Color
Range command is picking up a ton of that noise.
| | 02:34 | Now we can smooth up some of that noise
by brining up the fuzziness value like so.
| | 02:40 | As we do I will go ahead and zoom back out here and notice
that when I press and hold the Control key or the Command key
| | 02:44 | on the Mac I see the standard version of the image inside of this
preview in case you are wondering what's going on and I am having
| | 02:51 | to press the Control key in order to zoom in and out
that's why we are seeing that flash every once in a while.
| | 02:57 | In any case notice that by raising the fuzziness value
I do soften some of the noise inside of the image
| | 03:03 | and some of the stair stepping and the achier stuff that's
going on but it also creates a more tenuous transition
| | 03:11 | between the foreground image which is the woman and the
background which is of course that black background.
| | 03:18 | Alright and anyway this is fairly good actually so far.
| | 03:22 | I would however want to go ahead and reverse this selection
because I don't want to select the background and I do want
| | 03:28 | to select the foreground so I am
going to turn on the invert checkbox.
| | 03:32 | Now at this point you might say hey why don't we try
adding a few colors to the selection inside of the hair,
| | 03:37 | why don't we don't we do that and then we will make
the hair more clearly defined from its background.
| | 03:42 | Well you don't want to be shift clicking here.
| | 03:44 | If you shift click here you are actually
going to make the image darker.
| | 03:48 | Isn't that bizarre?
| | 03:49 | You are actually going to be making the mask darker and
therefore you are going to be deselecting and that's a function
| | 03:55 | of having the Invert Checkbox turned on so now Shift Clicking
deletes from the selection and Alt Clicking adds to the selection
| | 04:02 | so let's undo that last modification and instead let's press
the Alt or Option key in order to get the minus sign next
| | 04:10 | to the eyedropper here and then click inside the hair.
| | 04:13 | And did you hear that little beep?
| | 04:14 | That's the Color Range command's way of telling
you there is no more to delete from this selection.
| | 04:19 | You only had one base color setup in the first place black
| | 04:23 | and you can't delete anything from a
single base color so forget about it.
| | 04:27 | This is the mask we got.
| | 04:29 | Our only option is to reduce or increase the fuzziness value and
if we reduce it we are going to strengthen the hair information
| | 04:37 | but we are also going to get more noise so I
suggest we leave it set to 100 and then click OK
| | 04:43 | in order to convert that mask to a selection.
| | 04:47 | Now let's convert it back to a mask which is something
we can do of course by saving the selection outline.
| | 04:53 | I am going to press Shift+Tab to bring back my palettes and
I want you to switch over to the Channels Palette next door
| | 05:00 | to the Layers palette or you can go up to the Window menu
and choose the Channels command or use my keyboard shortcut
| | 05:07 | that I have provided to those of you who are using my D keys.
| | 05:10 | Alright so I have got the Channels Palette up on screen.
| | 05:12 | I was telling you back in Chapter8 you can save
the selection by going up to the Select menu
| | 05:16 | and choosing the Save Selection command but I
got to tell you now that's the sucker's way.
| | 05:21 | No sense in doing that my friends because there is a much
easier single click solution here inside of Photoshop.
| | 05:28 | In the Channels Palette go to the bottom the Channels
Palette and you will see this little icon right there.
| | 05:33 | If you hover over it it's going to say Save Selection As Channel.
| | 05:36 | Go ahead and click on it and it converts the
selection to a new alpha channel called Alpha1.
| | 05:43 | Now an Alpha channel is a non-color
bearing channel inside of Photoshop,
| | 05:48 | usually used to house a mask which is what we are using it for.
| | 05:52 | So there is it is.
| | 05:53 | There is Alpha1.
| | 05:53 | I am going to go ahead and press Ctrl+D or Command+D on
the Mac to get rid of the marching and style selections
| | 05:59 | so we can just focus in on this Alpha
channel version of the selection outline.
| | 06:04 | Go ahead and double click on it and let's just call this
guy color range so we remember where it came from later
| | 06:10 | and then later I will be able to show you how it
compares to the better mass that we are going to create.
| | 06:15 | Now here is the problem.
| | 06:16 | It looks pretty darn good I would say but there is so much
darkness inside this area that we need to select and there is
| | 06:22 | so much noise and just weird transition, check out this neck.
| | 06:25 | That's not a portion of the image that we are going to have
to worry about in terms of generating the mask too much
| | 06:30 | but it certainly is indicative of just how weird the
shades that were generated by the Color Range command.
| | 06:36 | Compare that to the final mask.
| | 06:38 | Now I have got the head included
in Alpha channel called maskforyou
| | 06:41 | which represents the mask that we will be creating here.
| | 06:44 | Compare these two alpha channels together so a mask
looks very good that is to say that we have white,
| | 06:51 | where we want to select the head and the hair detail.
| | 06:54 | We have black where we don't want to select the
background and we have nice soft transitions in between,
| | 06:59 | nice grey transitions whereas with the color range command
we have a lot of noise and we have a lot of weird guck
| | 07:05 | that we are going to have to deal within this
region right there which is why I am going
| | 07:10 | to tell you we could make the Color Range Mask work that is
possible but it's not worth it because there is an easier way
| | 07:17 | to go at it and a more precise way as well which
we will begin to investigate in the next exercise.
| | Collapse this transcript |
| Selecting a base channel| 00:00 | Alright, so how do you go about creating
a channel based mask you may ask yourself.
| | 00:06 | No, no, ask me I know the answer, here let me show you.
| | 00:09 | Go to the RGB image for starters
here inside the channels palette.
| | 00:13 | Actually you know what I am going to do, I am going to make
these little thumbnails a little bigger here and I am going to do
| | 00:20 | that by right clicking in this empty area down here
below the channel names and I am going to choose Large.
| | 00:27 | Another thing you can do if you don't have an empty area
down there or its just too slim to get to as it is now
| | 00:32 | for me then you could click on the little menu
icon and choose palette options and that will bring
| | 00:38 | up these bizarre little silhouettes as it turns out, they are
silhouettes of tiny little wizards with magic wands sitting
| | 00:45 | on a paint palette, believe it or not
that's what they actually are and go ahead
| | 00:49 | and select the largest of the group and then click OK.
| | 00:53 | So that works too.
| | 00:54 | But anyway that way we can see big
versions of our thumbnails here.
| | 00:59 | Now when you are anticipating creating a channel based mask by
which I mean we are going to create one of these a mask inside
| | 01:06 | of an alpha channel that's all that's about but it's also based
on one of the existing color channels inside of the document
| | 01:12 | which means that we need to peruse the channels, we need to sort
of stroll through the channels and see what's going on here.
| | 01:19 | So just so that you are on board with me here we
are working it in the FaceInTheDark.tiff image,
| | 01:25 | we are looking at the channels palette of course.
| | 01:27 | Here is the RGB version of the image at the
top and that's just the full color composite,
| | 01:32 | that's the blended version of the red, green and blue channels.
| | 01:35 | Now each one of red, green and blue channels is a separate
grayscale document and each one conveys different information.
| | 01:45 | So let's take a look at each one of them.
| | 01:47 | I am going to stroll through these three
channels by pressing the keyboard shortcuts.
| | 01:51 | Notice that there are these little keyboard shortcuts over here
on the right side of the channels palette that's a Control 1,
| | 01:56 | Control 2 and Control 3 and those would be Command 1, 2 and 3
on the Mac and they allow you to switch between the channels.
| | 02:04 | So here's Control 1 for red, here's Control
2 for green and here's Control 3 for blue
| | 02:11 | and notice that they are getting
increasingly dark inside of this image.
| | 02:16 | So red is the brightest channel, green is the sort of moderately
bright channel and then blue is the dimmest channel of the bunch
| | 02:24 | and that just turns out to be the case because we
are looking at a flesh based person here so somebody
| | 02:31 | who trends toward the warmer colors as we all do, I am not
implying that this woman is somehow warmer than other people
| | 02:39 | out there, any picture of a human
being is going to resonate more inside
| | 02:43 | of the red channel than inside of the green or blue channels.
| | 02:47 | Green is always going to be second
and blue is always going to be third.
| | 02:50 | What we are looking for isn't so much the brightest channel
or the dimmest channel or anything along those lines,
| | 02:55 | we are looking for the channel with
the most contrast and that is going
| | 02:59 | to be the red channel right here,
it's the closest to the end mask.
| | 03:03 | Because she is very light, her hair is moderately light,
her background is very dark, how much closer could we get?
| | 03:10 | So this is the channel that we are going to start with.
| | 03:12 | What happens when you are creating a mask is you begin
with the channel and then you start in editing it,
| | 03:18 | you start making the bright brighter and the dark
starker but we don't want to do that yet, right.
| | 03:22 | If I started manipulating the red channel I would
mess up my image, I would muck up that red information
| | 03:28 | and that would affect the RGB composite as well.
| | 03:31 | So instead I want to click on the red channel to make it
active and then I want to duplicate it which I am going to do
| | 03:37 | by dragging the red channel down to this little page icon,
see it down here at the bottom of the channels palette.
| | 03:44 | That little page icon when you see it in any palette indicates
that you are going to create a new something rather right.
| | 03:50 | So inside this palette it means new channel inside
the Layers palette, it means new layer and so on.
| | 03:55 | So I am just going to go ahead and duplicate the red channel here
and I will name it "My Mask" just so that I can keep it separate
| | 04:02 | from the one that I gave you Mask, alright
and you can name it anything you want.
| | 04:06 | Just go ahead and give it a name there.
| | 04:07 | I am also going to make my palettes a little
wider by dragging them over to the left
| | 04:11 | so that I can see this name uninterrupted
without that dot, dot, dot.
| | 04:16 | Alright so this becomes the base channel for my mask, we will
see how we turn it into a mask beginning in the next exercise.
| | Collapse this transcript |
| Enhancing the channel's contrast| 00:00 | Our next task is to enhance the contrast of
this channel right here, this My Mask channel,
| | 00:07 | that's a duplicate of the red channels, you
may recall it from the previous exercise.
| | 00:11 | We need to enhance the contrast so that her hair and
face are totally white against a totally black background
| | 00:18 | with a little softness, a few gray values in between.
| | 00:22 | In other words, we are trying to get to this
mask channel right there to that final mask.
| | 00:27 | Alright, so I am going to go ahead and click
on My Mask which as I said is the channel
| | 00:32 | that I created by duplicating the red channel.
| | 00:34 | And I am going to enhance the contrast for starters using
the Levels command just because it's the simplest approach
| | 00:43 | to the problem, you could also use
the Curves command if you want to.
| | 00:47 | I am going to up to the Image menu, I am going to choose
Adjustments and I am going to use the Levels command.
| | 00:53 | And I am going to go ahead and raise the
black value and lower the white value.
| | 00:59 | Let's start by lowering this white value, so we are going to drag
this white slider bar over to the left, until we get to somewhere
| | 01:07 | in the neighborhood of 120 let's say, which means that I
am saying that anything that has a luminance level of 120
| | 01:14 | or lighter is now going to become white inside of the image.
| | 01:18 | So that means I am blowing a ton of highlights.
| | 01:20 | If you take yourself back to our levels' discussion
several chapters ago, you might say golly, Deke,
| | 01:25 | you are taking all of these colors right here, this world of
luminance levels inside the image and you are making them white.
| | 01:33 | Well, that's okay in the context of a mask.
| | 01:36 | You want to turn a lot of colors white.
| | 01:38 | You want to turn everything that's inside of this woman and
inside of her hair white against a pitch-black background.
| | 01:45 | Now, speaking of the pitch-black background is pretty weird
that the background has a bunch of sort of dim noise in it now
| | 01:53 | because we have elevated the colors, we've made those
shadow lighter until we get to this point right here
| | 01:58 | where it's solid black, all of a sudden it just cuts off.
| | 02:01 | And I imagine that the photographer went ahead and extended
the canvas a little bit to include some black over here
| | 02:08 | on the left-hand side, that's perfectly fine, it's
something we are going to deal with right now,
| | 02:12 | we just need to make sure that this
entire area is a homogenous black.
| | 02:16 | And I am going to do that by raising the black
value, I am going to drag the black slider triangle
| | 02:21 | over to the right until this first value right here is 20.
| | 02:26 | So I am saying anything that has a luminance level of
20 or darker is going to turn black inside the image.
| | 02:32 | And that's what we've done, and we definitely
have a higher contrast effect as a result.
| | 02:36 | So, once again, 20 for black, 120 for white, don't worry about
the gamma value in the middle here, just leave that alone
| | 02:44 | and then go ahead and click OK in
order to accept the modification.
| | 02:47 | So, just so you can see what kind
of difference that command made.
| | 02:50 | This is before the before version of
this specific channel and this is after.
| | 02:55 | So we are a heck of a lot of closer to our destination right
here, which is this, however, we still have some room to go.
| | 03:02 | Now, I do want you to see on other thing.
| | 03:03 | I am going to zoom in here a little bit.
| | 03:05 | Notice that we are seeing a fair amount of noise inside of
the gray area, that's left over here inside of this channel.
| | 03:14 | But we are not getting nearly as much noise
as we got from the Color Range command.
| | 03:18 | This is the noise that was produced by Color Range.
| | 03:21 | This is the noise that is produce by
working directly from the red channel.
| | 03:26 | So let's go and zoom out here so that
we can see the differences right too.
| | 03:29 | This is the Color Range selection and this is
the work we've done so far with the red channel.
| | 03:34 | They are similar in many regards here.
| | 03:37 | That big difference is that the Color Range produces
a much rougher selection, a much rougher mask.
| | 03:43 | If we can, we better off working
directly from the channel information.
| | 03:47 | Alright, so there we have it.
| | 03:49 | We did a lot of work just using that Levels
command and we are going to do a lot more work,
| | 03:53 | we're going to fix these guys right
here, we're going to lighten them
| | 03:55 | up so we get a nice bright mask using the Dodge
tool beginning when, in the next exercise.
| | Collapse this transcript |
| Dodging the highlights| 00:00 | Here I am working inside the face in the
dark.tif image and I have made a few alterations.
| | 00:05 | I duplicated the red channel, I renamed it My
Mask and I went ahead and enhanced the contrast
| | 00:12 | of this channel using the Levels command, but we
still have some more contrast enhancement to go
| | 00:18 | because after all this is our destination, this
mask channel is what we are trying create here.
| | 00:24 | So I have got to take these grays, this entire region
of grays right here and somehow make them white,
| | 00:30 | something that I couldn't do inside Levels command.
| | 00:33 | If I try to accomplish this in Levels then I would have
ended up obliterating the good transitions that I have inside
| | 00:41 | of this image, particularly this region up here where
we have these very fine strands of hair going on.
| | 00:48 | It's just not worth rushing things don't you know, might as well
enhance the contrast one little baby step at a time in order
| | 00:56 | to achieve a desirable beautiful wonderfully accurate mask.
| | 01:01 | So I am going to go in and selectively brighten this dark
gray hair using the Dodge tool, you may recall the Dodge tool
| | 01:10 | from the previous chapter, we are going to be using it again.
| | 01:12 | Go ahead and click on the Dodge tool to select it.
| | 01:15 | And I am going to increase the size of my cursor
a little bit so it's about a 150 pixels here.
| | 01:22 | Now recall that you have a few range options available to you.
| | 01:25 | The default setting is midtones is a great settling when
you are working inside of a continuous tone photograph,
| | 01:31 | but when you are working inside of a
mask, it's not such a good setting.
| | 01:34 | Check this out, if I start brushing in the hairs using
the midtone setting, I make those hairs thick and gloppy
| | 01:42 | and they start encroaching on the background, notice that.
| | 01:45 | So they are getting way too thick, way
too gooey and the background is going away
| | 01:50 | and we are ending up creating some harsh icky transitions.
| | 01:54 | So let's go ahead and back step to get rid of that dodging.
| | 01:58 | We certainly don't want to switch over to shadows.
| | 02:00 | If I were to dodge the shadows then I would lighten the
background exclusively without affecting the hair barely at all,
| | 02:07 | alright, so I will undo that modification as well.
| | 02:10 | The setting you want to choose is
Highlight, so go ahead and choose Highlight.
| | 02:14 | By dodging the highlights, we protect the shadows, which is
the background and we focus our attention on the hair, alright.
| | 02:23 | So I am going to paint inside this area of the hair once
in order to start brightening it up and then I am going
| | 02:31 | to reduce my exposure value, notice that it starts out at
50, I am going to reduce it to 20% by pressing the 2 key
| | 02:37 | and now I am going to paint over this region some more.
| | 02:39 | Now it's going to take several passes in order
to get things looking the way you want them to.
| | 02:44 | So be patient, this is my third brush
stroke, this is my fourth one.
| | 02:48 | Make sure to be patient, lot of things happen, don't rush it,
because if you start rushing it, then you are going to lighten
| | 02:56 | up the background and that's certainly
not something that you want to do.
| | 02:59 | Alright, I will paint in these hairs a little bit as well
| | 03:02 | and that's pretty much the transitions
that we are looking for at this point.
| | 03:05 | You don't have to paint in these hairs, these little tiny
hairs at the top, because they are already sharply focused,
| | 03:11 | they already have a great degree
of contrast, so leave them alone.
| | 03:13 | We are just worried about getting these soft hair set up.
| | 03:18 | Now you may also find it necessary to bolster the shadow detail
to darken the background a little bit and if you want to do
| | 03:26 | that then you would switch to the Burn tool and you
would change the Burn tool range to Shadows like so.
| | 03:32 | Now go ahead and press the Esc key in order to deactivate
the Shadows option, not necessary once again on the Mac.
| | 03:39 | I will press the right bracket key a few times to make my
brush larger and then I would pain in the shadows like so.
| | 03:44 | But in our case, that's not such a good idea, notice
what happened, I just paint away a bunch of hairs
| | 03:50 | and those hairs are already delicate enough and more
to the point, our background is already dark enough,
| | 03:55 | so I will undo that modification just by pressing Ctrl+z.
| | 03:59 | The next step is to get rid of all this other garbage over
here and I don't mean to imply that her face is garbage,
| | 04:06 | it's just that from a masking perceptive, we don't need it.
| | 04:10 | We have a nice gully here, nice alleyway between the good
hair edges and this stuff that we need to get rid of.
| | 04:17 | So let's go grab the Lasso tool, make sure that you are scrolled
over so that you can see the far right side of the image.
| | 04:23 | Grab the lasso and just generally
select through this region, see that.
| | 04:28 | And drag all the way up, and all the way over and
down, around to encompass the entire top and right
| | 04:36 | and bottom portions of this right half of the image.
| | 04:40 | Now that I have selected all the stuff that
I wanted to delete, how do I delete it?
| | 04:43 | Well normally, you could just press the Backspace or
Delete key because normally the background color is white,
| | 04:50 | but when you are working inside of an alpha
channel, default background color is black
| | 04:54 | and the default foreground color is white because Photoshop
is making the assumption that you want to paint with white
| | 05:00 | when you are painting in the image, when you are painting
in the foreground and you want to paint with black
| | 05:04 | when you are painting it away, so
it makes a lot of sense actually,
| | 05:08 | but you have to take different approach
to deleting the selection.
| | 05:11 | Press Alt + backspace or Option, Delete in
order to fill that selection with white.
| | 05:16 | That's it folks, I am now going to press Ctrl+D, Command D
on the Mac to get rid of that selection, check out this mask,
| | 05:23 | it is awesome, you can zoom in on those hairs and you
will see that you have some very natural soft transitions,
| | 05:29 | a little bit noisy but it's matching the noise that's
inherent inside the image, so that's actually a great thing.
| | 05:35 | I am going to zoom out a little bit here and scroll
to the top, check out those individual strands
| | 05:41 | of hair, could that not be more awesome or what.
| | 05:45 | And if you are amazed by that, stay tuned because
in the next exercise I am going to show you how
| | 05:50 | to take off this wonderful mask that
you have created and put it in play.
| | Collapse this transcript |
| Putting the mask in play| 00:00 | So how do we take this fancy mask of ours and use it to convey
the image with all of her hair into a different background.
| | 00:08 | Well I will show you, I am going to go ahead and zoom out
from the image so that we can see most of it on screen.
| | 00:14 | As a general rule of thumb, before you can use a
mask, you have to convert it to a Selection Outline.
| | 00:19 | So I am going to go ahead and click
on the RGB version of the image,
| | 00:24 | click on the RGB Composite, so that
we can see the full color image.
| | 00:29 | And then I am going to load my mask as a selection, now
you may recall, I showed you how to load an alpha channel
| | 00:36 | that is load a saved selection by going up to the
select menu and choosing the Load Selection command.
| | 00:42 | And we could do that here too, I could choose
Load Selection and I could say that I want to work
| | 00:47 | with the My Mask channel right here and
then load it as a new selection outline.
| | 00:52 | But I am going to cancel that because I want to show
you another way to work that I think is much easier.
| | 00:57 | Go ahead and just scroll down to My Mask, so that you can see it
here at the bottom of the channel's pallet and then I want you
| | 01:03 | to press and hold the Ctrl key or the Command key on the Mac.
| | 01:07 | Notice when I have the Ctrl or Command key down, my
cursor when positioned over the mask thumbnail looks
| | 01:13 | like a pointing finger with a little dotted square next to it.
| | 01:17 | Alright so if you Ctrl click or Command Click on that thumbnail,
you will load the channel as a Selection Outline just like so.
| | 01:26 | We have the selection loaded, we are ready to use it.
| | 01:29 | I am going to go ahead and press Shift+F in
order to return to the multi-window mode here.
| | 01:35 | And I am going to zoom out from the face in a dark image a little
bit, so I can take in both it and the desert backdrop image.
| | 01:41 | If you don't have desertbackdrop.jpeg open, go ahead
and open it from the 10 masking folder by the way.
| | 01:47 | I am going to Shift+Tab away my pallet, so I
have a little more room to work on screen here.
| | 01:52 | And now I am going to go back to faceinthedark.tif, I
have a Selection tool active, which is the Lasso tool,
| | 01:59 | so I need to in order to get to the move tool I need to
press and hold the Ctrl key or the Command key on the Mac.
| | 02:06 | Notice that I will get a little arrowhead with some scissors
next to it as long as I have that Ctrl or Command key down.
| | 02:13 | I will now drag the face like so, drag that selected face, press
and hold the Shift key and release the mouse button in order
| | 02:21 | to register her into place inside of this desert background.
| | 02:26 | Alright now press the F key once again so that we are
just viewing the woman against the desert background.
| | 02:32 | I would go so far as to say this is pretty
darn amazing, our mask has served us very well.
| | 02:38 | If you zoom in you can see that we have some very nice
soft subtle transitions between foreground and background,
| | 02:45 | especially in some of this hair detail
up here at the top of the image.
| | 02:49 | The only problem is this, we are
getting some dark halos around our hairs
| | 02:54 | and that's not something that I want to see quite frankly.
| | 02:57 | That is not a function of having a bad mask, we have
got a great mask, those dark edges are a function
| | 03:03 | of having brought the image in from a different background.
| | 03:06 | And so what we have got to do now is we have got to
take advantage of a few compositing tricks in order
| | 03:12 | to make those dark edges go away and I will introduce
you to those compositing tricks in the next exercise.
| | Collapse this transcript |
| Reducing the edge fringes| 00:01 | Okay let's take a moment to make sure
that we are all on the same page here.
| | 00:04 | Here is what I have done so far.
| | 00:06 | I have gone ahead and selected the woman along with her hair
from the FaceInTheDark.tiff image from photographer Pascal Genest
| | 00:14 | and I have dragged and dropped this selection
| | 00:17 | into a new background here called
DesertBackdrop.jpeg from photographer M Lenny.
| | 00:24 | And go ahead and go to the Layers palette by clicking on
the Layers tab or by pressing the F7 key and you will notice
| | 00:31 | that the woman and her hair have landed on an
independent layer inside of this composition.
| | 00:37 | And I am going to go ahead and change the name of this
layer by double clicking on Layer 1 and I am going
| | 00:43 | to call this layer Normal which may
seem like a weird thing to do.
| | 00:48 | But I am naming it after its blend mode notice
the normal blend mode is at work on this layer,
| | 00:54 | the blend mode being this item here directly
below the word Layers in the Layers palette.
| | 00:59 | Now the great thing about this independent layer here is
that of course it is independent of the background meaning
| | 01:05 | that we can edit background and woman
independently of each other.
| | 01:09 | Also it's the result of an incredibly accurate mask
that traces individual strands of hair, how cool is that
| | 01:16 | but it did result in some dark edge fringing.
| | 01:19 | And I need to get rid of those fringes and I am going
to do that using a series of compositing tricks.
| | 01:26 | For starters in this exercise we are going
to take a look at little Blend Mode trick
| | 01:30 | that will help downplay the edges not
entirely get rid of them but downplay them.
| | 01:34 | In the next exercise we are going to take advantage of a
function called a Layer Mask and then later we are going
| | 01:40 | to use the Quick Mask Mode in order to modify that layer mask.
| | 01:44 | Alright so currently she is set to normal.
| | 01:47 | What we need to do is create a layer of lightness
in between normal and the background layer
| | 01:52 | and I am going to do that by duplicating this layer.
| | 01:55 | The easiest way to duplicate a layer, you can drag it on to the
little page icon at the bottom of the Layers palette if you want
| | 02:01 | to or you can go to the Layer menu and you can
choose New and you can choose Layer via Copy.
| | 02:08 | But by far the easiest way to duplicate
a layer is to take advantage
| | 02:11 | of this keyboard shortcut right here
Ctrl J or Command J on the Mac.
| | 02:15 | Now you might wonder why in the world is the keyboard shortcut
for duplicating the layer Ctrl J and the reason is J for jump,
| | 02:24 | we are going to jump the layer to a new layer.
| | 02:26 | However you decide to do it, go ahead and jump that layer
and notice that it's automatically named Normal Copy.
| | 02:31 | I am going to double click that name and I am going to
rename this layer lightness like so and then press the Enter
| | 02:38 | or Return key and I am going to drag that layer downward
until I see a heavy bar, notice that heavy horizontal bar
| | 02:44 | between Normal and Background and then I will release.
| | 02:48 | That allows me to move the layer down the
stack which is what I want you to do as well.
| | 02:52 | Then let's go ahead and change the blend mode.
| | 02:54 | Click on the word Normal in order to display the blend mode
pop-up menu here and keep your eye if you can keep your eye
| | 03:01 | on the image here inside the image window so you can see the
change that occurs when I change the blend mode associated
| | 03:08 | with this layer to Linear Dodge and in parenthesis it says Add.
| | 03:12 | That's a new little addition inside Photoshop
CS3 to show us that that is the same thing
| | 03:16 | as the Add Blend Mode that's available
elsewhere inside the software.
| | 03:21 | Alright anyway I will go ahead and choose
Linear Dodge and notice the difference.
| | 03:24 | Did you see that?
| | 03:25 | I will go ahead and press the Escape key so that
the Linear Dodge option is no longer active there.
| | 03:30 | So this is before we changed that blend mode and this is
after, significantly lightened those edges those fringes
| | 03:39 | around the thick GUI sort of soft
hairs near the bottom of the image.
| | 03:44 | Also it did a lot, I will go ahead and zoom in to the top of
the image here, it did a lot to bring out the hairs at the top
| | 03:52 | of the image so sharply focussed strands of hair.
| | 03:54 | This is before.
| | 03:56 | Notice how dark they are and this is after, notice how light
and bright and beautiful and easy to see they are thanks
| | 04:03 | to the sandwiching of two copies of the layer, one set to the
normal blend mode and the other set to the linear dodge mode.
| | 04:12 | As I say in the next exercise we are going to get rid of
more of these fringes using Layer Mask, Quick Mask and more.
| | Collapse this transcript |
| Adding a layer mask| 00:00 | You know all of a sudden it occurs to me you might want to
see what this lightness layer actually looks like by itself.
| | 00:06 | So I am going to go ahead and turn
off the normal layer for a moment here
| | 00:09 | so that you can see how outrageously bright this
layer is as a function of the Linear Dodge mode.
| | 00:15 | The Linear Dodge mode is a very exaggerated brightening
mode inside Photoshop and it completely gets rid
| | 00:23 | of those dark edges, those fringes that we saw before.
| | 00:28 | Problem is of course it gets rid of everything inside the image
which is why we have the normal layer stacked on top of it.
| | 00:35 | But just having it in between does a good deal to lighten
those edges, that's the before version of the dark fringes
| | 00:42 | and this is the after version thanks to the lightness layer.
| | 00:46 | Alright in this exercise we are going to create a layer mask.
| | 00:50 | Go ahead and click on the Normal Layer that you have
created assuming that you have been working along with me.
| | 00:56 | Click on the top layer the one that's called
Normal and set to the Normal Blend mode.
| | 01:00 | Now at this point what I need is to contract the edges
a little bit so that we get rid of those edge fringes.
| | 01:08 | That means I need to regain access
to the original selection outline.
| | 01:12 | I am going to switch back to my FaceInTheDark.tiff
image that still has the selection outline intact,
| | 01:18 | you can see the marching ants marching
round the edges of this selected area here.
| | 01:23 | But problem is as soon as I move this selection
| | 01:26 | into a new background it became an independent
layer and the selection outline went away.
| | 01:31 | Well I still need it and it still turns
out to be completely available to me,
| | 01:36 | it just got converted into what's called
a Transparency Mask inside Photoshop.
| | 01:41 | The Transparency Mask determines which portion of the
layer's transparent and which portion of the layer is opaque.
| | 01:48 | To convert that Transparency Mask to a selection press and
hold the Ctrl key or the Command key on the Mac and then click
| | 01:56 | on the layer thumbnail right here so just go ahead and Ctrl click
or Command click on the Normal Layer thumbnail and that converts
| | 02:03 | that Transparency Mask back into a selection outline it's the
same selection outline that we have available to us inside
| | 02:11 | of the FaceInTheDark image, alright, they are exactly the same.
| | 02:16 | Now I want to edit the selection outline as a layer specific mask
so I am going to convert it to a layer mask and I am going to do
| | 02:23 | that by going to the bottom of the Layers palette here.
| | 02:26 | Notice this little circle on the square icon,
if you hover over it, it says Add Layer Mask.
| | 02:31 | Go ahead and click on it and that converts the selection
outline, gets rid of it as well and converts it to a layer mask
| | 02:39 | and you can see the mask thumbnail just
to the right of the layer thumbnail.
| | 02:44 | To view that mask thumbnail by itself I want you to Alt
Click on it or Option click on it on the Mac and you can see
| | 02:51 | that it's the exact same mask that we had before.
| | 02:54 | I am going to go back by the way, I am
going to go back to the FaceInTheDark image,
| | 02:58 | I am going to deselect it so we get rid of those marching ants.
| | 03:01 | I am going to switch to the channels palette,
scroll down to the bottom and click on My Mask.
| | 03:06 | There is the original mask right the
one that we converted into a selection
| | 03:09 | and used to drag and drop the woman into her new background.
| | 03:12 | Now check this out.
| | 03:13 | I am going to now press Ctrl Tab to
switch to the desertbackdrop.jpeg image
| | 03:18 | and we are now viewing the layer mask by itself.
| | 03:20 | Do you see any difference?
| | 03:21 | This is the original alpha channel mask, this is
the layer mask, they are pixel for pixel identical.
| | 03:28 | So we converted the alpha channel mask into a selection
outline and then we dragged the image into a new background,
| | 03:35 | the selection outline got converted into a Transparency Mask
and then I Ctrl clicked on the layer thumbnail and in order
| | 03:41 | to convert the Transparency Mask back into a selection outline
| | 03:45 | and now we just converted the selection
outline into a layer mask.
| | 03:49 | So we have gone back and forth a couple of times actually I
guess about 5 times in all and yet we didn't lose a darn thing.
| | 03:55 | Converting between a mask and a selection
outline is a completely lossless transition.
| | 03:59 | Even though a selection outline is a fairly rudimentary
way to show off the edges that we have available
| | 04:06 | to us it does convey all of the softness
and detail information, is that not amazing?
| | 04:13 | Alright anyway I am going to go back to the Layers palette here.
| | 04:16 | We are looking at the layer mask by itself.
| | 04:19 | In order to see the image once again you can either Alt Click
or Option Click on the layer mask or I will go ahead and Option
| | 04:26 | or Alt Click it again to see it by itself or you can just
click on the layer thumbnail and that will take you back
| | 04:32 | to the RGB Composite View of the entire layered composition.
| | 04:37 | Alright, so nothing, we didn't really
do anything in this exercise,
| | 04:41 | we didn't make the fringes go away all we
did was gain access to this layer mask here.
| | 04:46 | We are now going to set about editing that
layer mask beginning in the next exercise.
| | Collapse this transcript |
| Creating a gradient quick mask| 00:00 | Now I assume you have been working along with me for the last
few exercises, if you have then you have a layered composition
| | 00:08 | and we can see here inside the Layers pallet that
includes the background image from photographer M. Lenny
| | 00:15 | with two blend mode variations of this portrait shot from
photographer Pascal Jeness, one set to the Linear Dodge mode
| | 00:24 | and the other set to the Normal mode subject to a Layer Mask.
| | 00:29 | We are now going to set about editing that Layer Mask, but
before we do, we need to evaluate what in the world we are trying
| | 00:36 | to accomplish here, so I am going to zoom in.
| | 00:39 | Notice that we still have these heavy edges
going on, they are not only these dark fringes,
| | 00:44 | but they are also kind of sharp fringes, which really doesn't
make sense in the context of these very soft blurry details,
| | 00:52 | these out-of-focal range details
in the bottom portion of the hair.
| | 00:57 | Meanwhile at the top of the hair, we have very sharply focussed
individual strands of hair that we don't want to mess up,
| | 01:05 | so we want to soften this bottom detail
without affecting the top detail at all.
| | 01:11 | And we are going to do that by modifying the Layer Mask.
| | 01:13 | But what I am basically suggesting is
that we need to modify the bottom portion
| | 01:18 | of the Layer Mask independently of
the top portion of the Layer Mask.
| | 01:23 | And we are going to do that using something
called a Gradient Mask and I am going to create
| | 01:29 | that Gradient Mask using the Quick Mask mode.
| | 01:33 | So go down to the bottom of the toolbox here and notice that
there is this little circle on the rectangle icon available
| | 01:40 | to us right underneath the foreground and background colors.
| | 01:43 | And if you hover over this little icon it tells you that
you are going to edit something in the Quick Mask mode,
| | 01:49 | you are going to edit the selection as
it turns out in the Quick Mask mode.
| | 01:52 | Well there is no selection right now, so if you click on
this little icon or press the Q key for Quick Mask mode
| | 01:58 | to enter the Quick Mask mode, you won't see anything different
because we didn't have a Selection Outline to start with,
| | 02:04 | so now we don't have anything going
on inside the Quick Mask mode,
| | 02:07 | but we can add something to this mode, specifically a gradient.
| | 02:12 | Now the idea behind the Quick Mask mode is that
it allows you to basically create a temporary mask
| | 02:17 | that you will immediately convert into a Selection Outline.
| | 02:20 | And it's just that it's just handy as heck, so
go ahead and select the gradient tool by clicking
| | 02:25 | on it here in the toolbox or by pressing the G key.
| | 02:30 | And then go up to the Options bar, click the down
pointing arrowhead and make sure that the first
| | 02:35 | of the gradients is selected, this guy that says
foreground-to-background, go ahead and click on it in order
| | 02:40 | to make it active, then press the Enter key or the
Return key in order to hide that pop-up pallet.
| | 02:46 | I would also like you just as a precaution to press D key,
| | 02:49 | D as in default colors to make sure black is your
foreground color and white is your background color.
| | 02:55 | Alright now we are ready to roll,
and we are going to draw a vertical
| | 02:59 | that is drop-downward here, a vertical black to white gradient.
| | 03:04 | Let's go ahead and drag it over her eye, actually
because it's a good way to measure this gradient.
| | 03:09 | We are really trying to select portions of her
hair but because this is a vertical gradient,
| | 03:14 | it's going to look the same way across
the entire width of the Image.
| | 03:18 | So I am going to drag from roughly the top of our
eyebrow here, down to just below her eye like so.
| | 03:24 | And I am going to press the Shift key as I drag, press and
hold that Shift key so that you are constraining the angle
| | 03:31 | of your gradient to exactly vertical like this.
| | 03:34 | Alright then go ahead and release the mouse
button and then release the Shift key.
| | 03:38 | Now it may come as a surprise that your
black to white gradient ends up looking red
| | 03:43 | to transparent, like a red to transparent overlay.
| | 03:46 | That's a function of working inside the Quick Mask mode.
| | 03:49 | Any portion of the Image that's going to be deselected up here is
red and any portion that will be selected up here is transparent.
| | 03:56 | There is no overlay in top of it.
| | 03:58 | And that is how the Quick Mask works.
| | 04:01 | Alright having done this, you should see
this fading red at the top of the image.
| | 04:05 | Once you see that, either go ahead and click on the Quick
Mask button again or just press the Q key again in order
| | 04:12 | to leave the Quick Mask mode and convert
that temporary mask into a Selection Outline.
| | 04:18 | Now it's just going to look like a rectangular marquee and
the reason we are seeing this horizontal line of marching ends
| | 04:24 | through the center of the gradient is because the marching ends
represent a threshold between the 50% least selected pixels
| | 04:32 | and the 50% most selected pixels, so I can't
hope to represent that entire gradient.
| | 04:38 | But were you to switch back into the Quick Mask mode,
you would see that the gradient is still intact, alright.
| | 04:43 | So again entering and exiting the Quick Mask
mode just like any conversion between a mask
| | 04:48 | and a Selection Outline is a non-destructive transformation.
| | 04:52 | You are not hurting the selection
or the mask by going back and forth.
| | 04:56 | Alright we are now ready to use this Selection
Outline in order to modify the Layer Mask,
| | 05:01 | so I want you to click on the Layer Mask
thumbnail here inside the Layers pallet.
| | 05:07 | And starting in the next exercise, we are going to blur
the selection portion of the Layer Mask and we are going
| | 05:14 | to apply the Levels Command in order to back off these edges,
| | 05:18 | so we no longer see those dark fringes
and we see nice soft transitions.
| | 05:23 | Please stay tuned.
| | Collapse this transcript |
| Blurring the layer mask| 00:00 | Alright I have been throwing a ton of masking and
compositing techniques your way it's almost done though
| | 00:06 | and it's all for a good cause.
| | 00:07 | We are trying to achieve the most realistic composition possible.
| | 00:12 | And we are going to do just that in this exercise we are going to
modify the selected portion of the layer mask in order to ensure
| | 00:21 | that we have nice soft transitions
down here in the low focus portion
| | 00:26 | of the hair detail while retaining nice sharp
transitions up here in the high focus areas.
| | 00:33 | Now you may recall we had just visited the Quick Mask mode and
I am going to go ahead and press the Q key to reinsert ourselves
| | 00:40 | into the Quick Mask mode here so that we are seeing the
mask version of the selection outline and I had drawn a dark
| | 00:47 | to light gradient here a black to white
gradient inside the Quick Mask mode.
| | 00:52 | Then when you press the Q key to escape that Quick Mask
mode it converts it into a marching and style selection
| | 00:57 | but we still have the soft transition at the top.
| | 01:01 | Alright I want you to click on the Layer Mask
thumbnail here inside the Layers palette.
| | 01:06 | Let us now set about softening the
bottom portion of this Layer Mask.
| | 01:11 | For starters I want you to go to the Filter
menu I want you to choose the Blur command
| | 01:15 | and I want you to choose this guy right here Gaussian Blur.
| | 01:18 | Now I have already taken the time to enter the correct setting
the setting I want you to enter which is a radius value
| | 01:23 | of 30 pixels so we are going to do an whole lot of softening
and go ahead once you have entered a radius of 30 you don't have
| | 01:31 | to say 30 point like I have on screen just 30 is fine then click
OK in order to apply that modification and notice the difference.
| | 01:39 | I am going to zoom in here a little bit.
| | 01:41 | This is before we blurred that layer mask this is
after and we have done a tremendous job of getting rid
| | 01:48 | of those dark halos that edge fringing that we had a moment ago.
| | 01:54 | But in its place we have somewhat I would say
unnaturally soft edges because we can see this top
| | 02:00 | of the desert this ridge here going into
the translucent portion of the hair.
| | 02:05 | Let's try to tighten that up just a little bit.
| | 02:07 | We are not going to get to rid of all that translucency
just a little bit of it by pressing Ctrl+L or Command+L
| | 02:13 | on the Mac in order to bring up the level dialog box.
| | 02:16 | And I am going to increase the black level here to 50
so I am saying anything with a brightness level a 50
| | 02:22 | or darker inside the layer mask is going to go black.
| | 02:26 | And that moves, notice that moves the edge inward a
little bit so I will show you what's happening there.
| | 02:32 | The more I drag the more we are moving that edge inward.
| | 02:36 | And if I don't want to do that if I want to move it outward
a little bit then I would drag the black slider triangle
| | 02:41 | to the left instead I could also move the white triangle
to the left in order to bolster that edge notice that.
| | 02:49 | But I don't want to take it that far because that
reintroduces the dark fringing that we had a moment ago.
| | 02:55 | So I will just take this value down ever so slightly just
10 luminance levels to 245 so I have got 50 for black 245
| | 03:04 | for white 1.0 for gamma I didn't change the gamma value
and I clicked OK in order to accept that modification.
| | 03:11 | So that takes care of the softening
that I want to apply to the hair detail.
| | 03:16 | There is one problem however you may notice in this
composition I am going to go ahead and press Ctrl+D or Command+D
| | 03:22 | on the Mac to deselect that region of the image.
| | 03:26 | Isn't it peculiar that the hair at the top of the image is in
high focus and in this large region of hair toward the bottom
| | 03:32 | of the image is out of focus and then somehow
the background is back in focus again?
| | 03:38 | Cameras don't work that way.
| | 03:40 | You can't have multiple levels of focus inside of an image.
| | 03:44 | Now you can if you want to.
| | 03:46 | I should say it's your art work you can
do whatever the heck you want with it.
| | 03:50 | You can violate any rule you like but if we are going for realism
then this background also needs to be out of focus so I am going
| | 03:57 | to click on the background layer at the bottom of the layer
stack here then I am going to go up to the Filter menu.
| | 04:03 | I am going to choose Blur and this
time instead of choosing Gaussian Blur
| | 04:06 | which is a relatively simple blur function I am
going to choose this more elaborate blur function
| | 04:11 | which stimulates the effect you get when you are actually
shooting an image out of focus and it's called Lens Blur.
| | 04:18 | Go ahead and choose that command now
there is a ton of sliders I am not going
| | 04:21 | to walk you through how this command works right now.
| | 04:24 | You can set your iris shape to anything you want to I
don't care what you said blade curvature and rotation to.
| | 04:29 | Brightness should be 0 threshold
should be 255 noise should be set to 0
| | 04:34 | but the value I am really concerned
about is this guy right here radius.
| | 04:38 | I want you to set the radius to 30 and then once you have done
that go ahead and click OK in order to accept that modification
| | 04:46 | and we now have a blurry background combined with some
blurry hair detail toward the bottom of this portrait shot
| | 04:54 | and of course this high focus hair detail at the top of the shot.
| | 04:58 | I am going to go and zoom in here so we
can evaluate some of this information.
| | 05:02 | Now we do have some nice soft edges
toward the bottom of the hair a little bit
| | 05:07 | of fringing going on in this region and this region too.
| | 05:12 | But we have to choose our battles when we are
compositing one image against a new background,
| | 05:16 | not everything is going to go totally right especially
when the images were shot under such different conditions.
| | 05:22 | But now I am going to scroll toward the top so we can see the
just absolute wonderfulness of these individual strands of hair
| | 05:29 | and let's see what a difference this
middle lightness layer makes.
| | 05:34 | This is without the middle lightness layer this is with it.
| | 05:38 | Can you see what a difference that makes?
| | 05:40 | How integral that lightness layer is to the entire composition?
| | 05:44 | Just absolutely amazing the power of masks
in compositing here inside Photoshop.
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| And that's just the beginning...| 00:00 | Alright, let's go ahead and wrap things up here.
| | 00:02 | I am going to press Ctrl- a couple of times to zoom out.
| | 00:05 | Then, I am going to fill the screen with the image and tab away
the palettes, so that we can focus on our completed composition.
| | 00:13 | It is absolutely amazing what you can do with masks inside
Photoshop, but it's a little bit overwhelming as well,
| | 00:21 | especially if you are trying to take in the entire
topic in a single chapter like this one here,
| | 00:26 | which is why I have devoted an entire series to this topic.
| | 00:30 | It's called Photoshop Channels and Masks, and it's available to
you here at the Lynda.com Online Training Library totally free
| | 00:38 | to those of you who are Lynda.com members or premium members.
| | 00:43 | And I need you to understand as opposed to trying to cover
all of Channels and Masks in a single-hour-plus-long chapter
| | 00:49 | like this one, I devote more than 21 hours to
the topic, that's how much information there is.
| | 00:57 | It is amazing.
| | 00:57 | So definitely, give it a try, what you've done with
this series or what have you, go ahead and check it out,
| | 01:03 | and I think you will find it very aluminating indeed.
| | 01:07 | In the next chapter, we are going to see how you can sharpen
the perceived focus of an image here inside Photoshop.
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|
|
11. Sharpening FocusEdge-enhancement parlor tricks| 00:00 | When an image is formed by the camera lens its focus is defined.
The moment you press the shutter release, you accept that focus and
| | 00:07 | store it as a permanent attribute of the photograph. If the
photograph is slightly out of focus, it stays out of focus.
| | 00:13 | No postprocessing solution can build more clearly
defined edges than what the camera actually captured
| | 00:20 | or fill in missing or murky detail.
| | 00:22 | So how can I do a chapter on sharpening an image?
| | 00:25 | By faking it.
| | 00:26 | Well.
| | 00:27 | I won't be faking it. I'll be completely sincere.
You'll be faking it and with Photoshop's help.
| | 00:32 | Although Photoshop can't reach back into your camera and
adjust the lens element for a better shot, it can simulate the
| | 00:39 | appearance of enhanced focus by comparing neighboring pixels
and increasing the amount of contrast between those pixels
| | 00:46 | that trace the already existing edges. Your brain thinks it
perceives a differently focused image, but really it sees
| | 00:53 | an exaggerated version of the focus that was already there.
| | 00:56 | But so what if it's a contrast trick? Does that say
anything less of Photoshop's sharpening capabilities?
| | 01:02 | Not to my way of thinking. After all photography itself is
a trick that simulates reality, very specifically geared to
| | 01:09 | human eyes and brains.
| | 01:10 | If Photoshop sharpening augments that trick, more power to it.
| | 01:14 | I just want you to know what you're doing. After all,
the magician who truly understands his bag of tricks is better
| | 01:20 | equipped to perform magic and sharpening magic, or at the
very least parlor trickery, is what this chapter is all about.
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| The subterfuge of sharpness| 00:01 | Let's start things off by opening the image called
OrangeOnBlue.jpeg it's found inside the 11Sharpen folder
| | 00:07 | and this image once again comes to
us from photographer Andrea Gingrich.
| | 00:11 | Wonderful thing that these photographers are willing to share
their work with us helps us all out tremendously I think.
| | 00:18 | Alright I am going to go ahead and press the F key in order
to switch to the Maximize mode here so that we get rid
| | 00:23 | of that weird little blue title bar here under Windows
Vista and let's go ahead and check out this snake.
| | 00:30 | I am going to zoom in on it so that we are viewing the animal at
the 100% zoom level and notice that there is a certain softness
| | 00:38 | to the focus of this image, it is by no
means blurry because were the image blurry,
| | 00:44 | there is just about nothing we could do in order to save it.
| | 00:47 | Photoshop as we learned earlier when we took a look
| | 00:51 | at Up Sampling using the image size command
a few chapters back Photoshop is not capable
| | 00:56 | of generating detail where no detail exists.
| | 00:59 | Real focus is a function of the lens element of your camera
so you have to lock that focus on in order to get sharpness.
| | 01:09 | What Photoshop can do is exaggerate edge differences inside
of the image to create the appearance of additional sharpness.
| | 01:18 | So this image for example is ideally suited to
sharpening inside of Photoshop and here's what I am going
| | 01:25 | to do just to demonstrate how Sharpening works.
| | 01:27 | I am going to go ahead and zoom in on this snake's
eye like so, so I am Ctrl Spacebar dragging
| | 01:32 | that would be Command Spacebar dragging on
the Mac in order to zoom into the image.
| | 01:37 | Let me just take it out a notch.
| | 01:39 | I am looking at this eye at the 1200% zoom ratio now.
| | 01:44 | And take a look at what's going on with the eye.
| | 01:46 | We have sort of a darkish sliver on the outside edge of the eye.
| | 01:52 | Then on one side we have got light blue
background going on and on the other side
| | 01:56 | of this dark sliver we have lighter red
colors going on in the interior of the eye.
| | 02:02 | Alright, let's see what Sharpening inside Photoshop will do.
| | 02:06 | I will just go ahead and apply a Sharpening function here and we
will learn what the Sharpening features are in the next exercise
| | 02:13 | but for now I am just going to apply
it magically and notice the difference.
| | 02:17 | Photoshop just made that sliver darker
and it made the eye slightly lighter
| | 02:22 | and it made the background slightly lighter
as well so this is before and this is after.
| | 02:27 | So it's exaggerating the degree of differences between
neighboring pixels and that means in addition to calling
| | 02:35 | out real details inside of the image
it also calls out digital noise.
| | 02:40 | Notice the blue background here.
| | 02:42 | Here's what it looked like before much smoother,
here's what it looks like after much rougher.
| | 02:47 | So the sharpen functions are also going to call out not only
the good detail inside your image but the bad detail as well,
| | 02:55 | the random detail like noise and film grain and so on.
| | 02:59 | So now we know how Sharpening works.
| | 03:01 | It's all about exaggerating differences
between neighboring pixels.
| | 03:06 | In the next exercise I will show you where the Sharpen functions
are located and how you go about applying them to an image.
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| The single-shot sharpness| 00:00 | Alright, I am now zoomed into the 200% zoom ratio
on this orange snake against a blue background
| | 00:08 | that is found inside the orangeonblue.jpg
file inside the 11 Sharpen folder.
| | 00:13 | And the reason I am zoomed into 200% is so that we can see
the results of some of the more subtle sharpen functions.
| | 00:21 | Now all of Photoshop sharpening capabilities are located
under the Filter menu and the Filter menu frankly is something
| | 00:29 | of a hodgepodge as it turns out there are all kinds of commands,
they run the gamut and they are organized into one submenu
| | 00:37 | after another as you can see here just gobs and gobs of submenus.
| | 00:41 | Now if there is a tie that binds some of the filters
anyway, it's that many of them are edge detection functions,
| | 00:48 | so they either exaggerate the degree of contrast between
neighboring pixels or they downplay the degree of contrast
| | 00:55 | or they merge pixels together, what have you, some sort
of edge detection and edge manipulation is going on.
| | 01:02 | And that's certainly true of the Sharpen functions right here.
| | 01:06 | So you go midway down the Filter menu to the Sharpen
command which brings up a submenu of 5 additional commands.
| | 01:14 | Now the best of the 5 are these two at the bottom
here, the ones that end in an ellipsis here the "..."
| | 01:19 | meaning that the command is going to bring up a dialog box
so that you can customize the behavior of the function.
| | 01:26 | And these two commands are actually really great commands as it
turns out which is why I have assigned them keyboard shortcuts
| | 01:32 | with my D keys keyboard shortcuts if you have loaded those
and you will get Shift+F5 for Unsharp Mask and Shift+F6
| | 01:39 | for the newer Smart Sharpen function, this
one was actually introduced in Photoshop CS2.
| | 01:43 | The guys above them here sharpen, sharpen edges
and sharpen more are single shot sharpeners
| | 01:49 | as what I call them because they just apply immediately.
| | 01:52 | You choose a command, it sharpens the image,
you are done, they are non-intelligent commands,
| | 01:56 | they don't analyze the existing brightness values,
luminosity levels that kind of thing inside the image,
| | 02:02 | the way for example the Auto Color and
Auto Levels and Auto Contrast functions do.
| | 02:08 | They are just these predefined algorithms
that apply and they are done.
| | 02:12 | So I will go ahead and show you what they look like and you can
safely ignore them actually if you want to but just for the sake
| | 02:17 | of complete coverage here, I will go
ahead and choose the Sharpen function.
| | 02:21 | Did you see there that is the effect of
sharpening, this is before and this after,
| | 02:26 | just a tiny little bit of additional
sharpening going on and that's it.
| | 02:31 | I am going to undo that command because I don't want
to be heaping one sharpening function onto another.
| | 02:37 | Now I am going to go up to the Filter menu, choose Sharpen
again and this time I am going to choose Sharpen More which is
| | 02:43 | about three times as much sharpening as it turns out, quite a
bit more sharpen is going on inside the image that time around.
| | 02:49 | Again I am going to undo the command and then
finally I will show you Sharpen, Sharpen Edges.
| | 02:55 | The idea here is that instead of just sharpening the
degree of contrast between all neighboring pixels,
| | 03:02 | it will sharpen only the most defined edges inside the image
which apparently includes none of the edges because there is just
| | 03:11 | about no difference between the before and after views.
| | 03:14 | In fact, if you are seeing a difference
at all then you are seeing more than I am.
| | 03:18 | I am going to go ahead and undo that
big old modification, so those are them.
| | 03:22 | Those are the single shot sharpeners, you can purge all knowledge
of them right now because we are never going to see them ever,
| | 03:30 | ever, ever again in this training
series or hopefully any other one.
| | 03:33 | From now on in the next couple of exercise, we are going to
focus on the Unsharp Mask command and then we will find our way
| | 03:41 | to this guy right there Smart Sharpen coming right up.
| | Collapse this transcript |
| Unsharp Mask| 00:01 | Let's take a look at the simpler and older of the two
customizable sharpening features and that would be Unsharp Mask,
| | 00:09 | so named because it actually uses a blur function that is masked
| | 00:14 | by the existing edges inside the image in
order to produce its sharpening effect.
| | 00:20 | So let's go out to the Filter menu and then choose Sharpen and
of course finally choose the Unsharp Mask command right here
| | 00:27 | or if you have loaded D keys and you compress Shift+F5
in order to bring up the Unsharp Mask dialog box.
| | 00:34 | Now, this dialog box is fairly indicative
of the best of the filters in my opinion.
| | 00:40 | It's got an in dialog box preview and a preview
see effect in the larger image window as well.
| | 00:46 | So you have a combination of two previews at your
disposal in order to keep track of the image.
| | 00:52 | What I tend to do is zoom into the 100% view size
inside the larger image window and you can do
| | 00:59 | that even when the dialog box is up on screen.
| | 01:01 | You can go ahead and Ctrl-click or Command-click on the Mac in
order to zoom in or Alt-click or Option-click on the Mac in order
| | 01:08 | to zoom out and you can Spacebar+Drag the image round and
you can take advantage of the other zoom options as well,
| | 01:14 | Ctrl+ and -, that would be Command+ and - on the Mac.
| | 01:18 | At any rate, I would basically keep the image zoomed into about
100% and then I will zoom out from the in dialog box preview here
| | 01:25 | by clicking on this - button, so I
see the image at the 50% view size.
| | 01:30 | So I can keep track of it at two different zoom
levels, which gives me a better opportunity to go ahead
| | 01:36 | and gauge the sharpness that's been applied to the image.
| | 01:40 | Alright, now down here, we have got three slider bars, and that's
it, just three numerical values, that's all we have to deal with.
| | 01:47 | It's a little bit tough to come to
terms with these options right at first,
| | 01:50 | but once you understand how they work,
it's really easy to manipulate them.
| | 01:54 | The amount value I think is fairly straightforward.
| | 01:57 | The idea is that if you raise the amount, you are
going to get more sharpening as you can see here inside
| | 02:03 | of the larger image window, as well as
inside the little dialog box preview.
| | 02:08 | And if you lower that amount value, then you get
less sharpening, pretty much that straightforward.
| | 02:13 | I am going to go ahead and take this value up
to 250%, which is about half of its maximum.
| | 02:19 | The maximum is 500% so I guess it's
actually exactly half of its maximum.
| | 02:24 | Now, the radius value controls the thickness of the edges.
| | 02:28 | I was telling you that Unsharp Mask works by creating softness
around the mask edges and that softness manifests itself as Halos
| | 02:38 | which can get pretty darn thick if you raise the
radius value or they can stay nice and tight,
| | 02:45 | nice and small if you lower that radius value.
| | 02:48 | And I will show you more about what's going on
with radius in the next exercise as it turns out.
| | 02:53 | Then finally, you have the threshold value which allows you to
eliminate some neighboring pixels from the sharpening equation.
| | 03:01 | I am going to go ahead and zoom in even farther on this snake
image here, onto its eye, so I am looking at both eyes actually
| | 03:08 | at the 300% zoom ratio and notice the
amount of digital noise that's being caught
| | 03:14 | in the background here, in the blue background.
| | 03:17 | Well, the idea behind threshold is you can try to get rid of some
of that noise by going ahead and raising the threshold value.
| | 03:26 | And so let's say I take this value up.
| | 03:27 | Notice as I am raising the value, the noise is
starting to go away in the background there.
| | 03:32 | And when I take this value up to 8, which works
pretty well for this image as it turns out,
| | 03:36 | I am saying that any two neighboring pixels, if
they are at least 8 luminance levels different
| | 03:43 | from each other, then they will get sharpened.
| | 03:45 | If they are less than 8 luminance levels different
from each other, then they will not get sharpened.
| | 03:50 | And you recall luminance levels are
measured from 0 for black to 255 for white.
| | 03:57 | So, a threshold value of 0 means that everybody gets sharpened
because all the neighboring pixels are at least 0, that is none,
| | 04:05 | luminance levels different from each other but as you raise
that value, you start to rule out the neighboring pixels
| | 04:12 | that have less differences and you just focus in on
the neighboring pixels that have more differences.
| | 04:18 | Now, you have to be careful with the threshold value.
| | 04:20 | It works very nicely for this image here, especially
when it's set to about 8, I find for this image.
| | 04:26 | However, for some images, it's not going to work too well,
you are going to get something of a pockmarking effect
| | 04:31 | because it's an on-and-off proposition,
either you are sharpening pixels
| | 04:35 | or you are not sharpening pixels
according to this threshold value.
| | 04:38 | So keep the value low.
| | 04:40 | I suggest you make sure that the threshold value never
exceeds 10 levels, that would be sort of a rule of thumb.
| | 04:47 | Sometimes you are going to violate that
rule, but it's just good precaution.
| | 04:50 | For low noise modern images that you would capture
with a digital camera, a threshold value of 2
| | 04:56 | or 3 is probably your best bet, so very small values there.
| | 05:01 | Alright, so that's basically what's going on.
| | 05:04 | The threshold value doesn't come into to play that often,
most of the time you are focusing on amount and radius,
| | 05:09 | and I am going to explore those options
in more detail in the next exercise.
| | Collapse this transcript |
| Understanding the Radius value| 00:00 | Okay so by now you probably have a pretty
rough understanding of how these sliders work,
| | 00:05 | the amount value controls how much sharpening
you will apply from the Unsharp Mask dialog box.
| | 00:12 | The threshold value, we are skipping one here the threshold
allows you to avoid sharpening grain inside the image
| | 00:19 | so you raise that value in order to skip
the grain and focus in on the details.
| | 00:25 | And then there is a radius value which allows
you to determine the thickness of the edges.
| | 00:31 | Of the three it's the trickiest to understand.
| | 00:34 | So let's go ahead and cancel out of the dialog box for a
moment in order to return to the original version of the snake
| | 00:40 | and I am going to go ahead and make this darn navigator palette
a little smaller here and switch over to the Channels Palette
| | 00:48 | so that we can see our Red Green Blue channels inside of
the image and bare in mind that Photoshop when it's working
| | 00:56 | through the RGB image is actually sharpening
each color channel by the exact same amount.
| | 01:03 | So when you are operating on the RGB channel Photoshop
is actually evaluating the red channel green channel
| | 01:09 | and blue channels independently of each other and
applying a passive Unsharp Mask to each of the three.
| | 01:16 | Alright I want you to go ahead and switch to the red channel
because of the three it has the highest degree of contrast.
| | 01:21 | We have a very light snake against a very dark background here
and I am going to go ahead and zoom out to the 50% zoom size
| | 01:30 | so that we can see the entirety of the snake here
and so with just the red channel selected just
| | 01:35 | for demonstrational purposes here I am now going to go back to
the Filter menu and once again choose Sharp and Unsharp Mask
| | 01:43 | to display the Unsharp Mask dialog box here and I
am going to go ahead and scroll over to the head
| | 01:49 | of the snake but there is another way to do this.
| | 01:51 | Notice that I am trying to scroll
inside of the in dialog box preview.
| | 01:55 | There is another way to make this happen.
| | 01:57 | You can notice when you move your cursor outside
the dialog box it appears as a little square.
| | 02:02 | If you click on a location inside of the image then
you center that point inside the in dialog box preview.
| | 02:10 | I am going to go ahead and raise the amount value to 250
once again just so that we can easily see what's going on
| | 02:16 | and now check this out I am going to raise the radius value and
I am going to do it in whole number increments by pressing shift
| | 02:22 | up arrow and notice what happens I keep pressing shift
| | 02:25 | up arrow here watch the screen see how we are
getting a thick black edge around the snake.
| | 02:31 | And I will go ahead and take it up a little more quickly
I am going to take this value eventually up to 30 pixels
| | 02:38 | as you can see here so I have a radius
of 30 and notice what that means.
| | 02:42 | It means that we have a thick black edge going
around the snake and outside of the snake
| | 02:49 | and a thick white edge tracing the inside of the snake.
| | 02:53 | The idea being that Photoshop is making
the lighter edge the lighter side
| | 02:57 | of the edge even lighter and the
darker side of the edge even darker.
| | 03:02 | And as a result it's creating halos with thick GUI blurry
as it turns out halo according to the radius values
| | 03:09 | so this actually turns out to be a Gaussian Blur halo for
what it's worth and we will see the Gaussian Blur filter
| | 03:17 | in the next chapter as it turns out but for
now I just know that that's what's going on.
| | 03:22 | It is the Blur function that's tracing around the image
and it's masked by the image itself, hence Unsharp Mask.
| | 03:30 | So that's what going on with the radius
value I just want you to see it there.
| | 03:34 | It is tracing black on one side on the dark
side and white on the light side of the image.
| | 03:39 | Again I am going to go ahead and cancel up but before I do
I do want to show you that you have a preview checkbox here
| | 03:44 | so that you can turn off the preview and
then turn it back on in order to do it before
| | 03:50 | and after out here in the larger image window.
| | 03:53 | If you want to do a before and after inside this little in dialog
box preview then click and hold the preview like so in order
| | 04:01 | to see the before version and then
release in order to see the after version.
| | 04:05 | So it's just something else to bear in mind.
| | 04:07 | Alright I am going to go ahead and cancel out of this dialog box.
| | 04:10 | Now we have a sense of what's going on with that radius value
thanks to our look at it inside of the high contrast red channel.
| | 04:19 | I want you to go back to the RGB channel and let's actually
see how we would actually sharpen this specific actual image
| | 04:28 | in the next actual exercise.
| | Collapse this transcript |
| Gauging the best settings| 00:00 | In this exercise I am going to show you how to figure out
the perfect Unsharp Mask settings for a specific image.
| | 00:08 | I have gone ahead and zoomed to the snake down to the 50%
view signs here and I have filled the screen with the snake
| | 00:14 | by Shift+Tabbing way my palette so we
can focus in just on this creature hair.
| | 00:19 | And I am going to the Filter menu and I
am going to choose Sharpen and I am going
| | 00:23 | to choose the Unsharp Mask Command
as I have done so many times now.
| | 00:27 | Brings up the Unsharp Mask dialog box but of course and I
am going to click on the creature's head in order to scroll
| | 00:33 | to the head inside of the, in-dialog box preview.
| | 00:37 | And I am actually going to zoom out a couple of clicks
inside the preview to see it at the 50% zoom ratio as well.
| | 00:45 | Now here is how I suggest you use the
controls inside the Unsharp Mask dialog box.
| | 00:49 | First take the amount value up really high.
| | 00:52 | Now I typically start with something in the 200%
to 400% range, you can go all the way to 500
| | 00:58 | if you want to, which tends to be a little bit of overkill.
| | 01:00 | And you are not going to stick with this value because
this would be straight on over-sharpening of the image,
| | 01:07 | you are going to ruin your image
if you apply this much sharpening.
| | 01:10 | You are going to make it very difficult to edit in the
future because you are going to have so much contrast
| | 01:15 | between neighboring pixels, you are going to have
brought out so much noise inside the image and so on.
| | 01:20 | But a high value is useful for gauging
the effect of the other values.
| | 01:25 | So as I say, I am going to raise it to 400 in the case of
this image, subtlety be darned and then I am going to tab
| | 01:32 | down to the threshold value and I am going to take that value
up to 8 luminance levels because we have already determined
| | 01:39 | in advance that 8 luminance levels
work well for this specific image.
| | 01:44 | And now finally let's go back to the radius value.
| | 01:47 | Now if were sending this image to screen, I am actually
going to zoom in to a 100% inside the larger Image windows
| | 01:55 | so that we can take in the snake at the 100% zoom ratio.
| | 02:00 | If I were getting this image ready for screen display
then I would want to keep the radius value very low.
| | 02:06 | I might take it down to 0.5 pixels or even lower.
| | 02:11 | You can go down to about 0.3 pixels
before the effect starts dropping away.
| | 02:16 | So something like 0.5 combined with a very high amount
value will give you an effect that pops on screen.
| | 02:24 | The problem is it's not going to show up very well in
print and in order to demonstrate that I am going to zoom
| | 02:29 | out even farther here inside the in-dialog box preview.
| | 02:33 | Notice that I am now looking at the image at the 25% zoom
ratio which more or less something like 25 or 50 is going
| | 02:41 | to give you a rough sense of what the image
is going to look like when it finally prints.
| | 02:46 | So I will go ahead and click and hold on the image which
takes away the preview, right and it shows me the before view
| | 02:52 | and then I will release to see the after view.
| | 02:54 | There is no difference going on.
| | 02:56 | So it's a safe bet that this affect will drop away the sharpening
affect that I have applied will drop away when I print the image.
| | 03:04 | Now it's not necessary going to go
completely away but you are not going
| | 03:07 | to see it nearly as strongly as you see it on screen here.
| | 03:11 | So compare that to the 100% preview out
in the larger image window, this is before
| | 03:17 | and this is after, it's a pretty easy affect to see.
| | 03:21 | So what I am going to suggest, you do if you are going to
print you need to take this radius value up to a higher level.
| | 03:27 | And instead of going with 0.5 you are going to want
to send this value to something along the lines
| | 03:32 | of 4 times that much which would be about 2 pixels.
| | 03:36 | Now that's just a rough approximation, you are going to
want to modify your radius value to taste but something
| | 03:42 | in the neighborhood of 2 might end up working up pretty well.
| | 03:45 | Now check out the larger 100% image window preview and it looks
| | 03:50 | like we have applied way too much
sharpening, this is before and this is after.
| | 03:54 | And certainly our amount value is way too
high, we are going to have to tamper that.
| | 03:58 | But it also looks like we have fairly thick GUI
edges that don't really look all that sharp.
| | 04:03 | Compare that to the in-dialog box, 25% preview if I click
| | 04:07 | and hold there is the before view,
if I release there is the after view.
| | 04:10 | Now that looks pretty tactile, it's looks
pretty sharp, it looks over sharpened.
| | 04:14 | I am applying too much amount as I have mentioned before
but it does look like a tactile pop-off the page effect.
| | 04:20 | Something else I have to tell you about gauging your sharpness
on screen only certain zoom levels are going to work for you.
| | 04:27 | A 100% works great and anything larger than a 100% is
useful as well because you are blowing up the pixels.
| | 04:33 | But once you start dropping away
pixels it's not such a good story.
| | 04:37 | If I zoom out to the 66.7% zoom ratio
that's a terrible zoom ratio.
| | 04:42 | I am dropping pixels out, it's a nearest neighbor
interpolation, remember nearest neighbor from our discussion
| | 04:48 | of the Image Size command that means that
some pixels are just getting dropped away.
| | 04:54 | Photoshop is not taking the time to average neighboring
pixels, alright so we get a very choppy screen display
| | 05:01 | that is not indicative of how the image is actually going to
look when you print it or export it or whatever you decide to do
| | 05:07 | with the image, whereas if you zoom at
another click here by pressing Ctrl minus
| | 05:12 | to zoom it out to 50% that's a good zoom ratio.
| | 05:15 | This is a Bicubic Interpolation, so Photoshop is going
around and averaging neighboring pixels in order to figure
| | 05:22 | out how it should show you the image on screen.
| | 05:26 | 33% is once again bad, 25% is good, 16.7%
is bad, 12.5% is good-bad, good-bad, good,
| | 05:35 | well you can't even see at it this point, but you get the idea.
| | 05:37 | So every other click is bad.
| | 05:40 | Basically you are good ones, alright our
12.5% that's good you are probably not going
| | 05:45 | to be zoomed out farther than that on a regular basis.
| | 05:48 | 25% is good, 50% is good and a 100% and larger is good as well.
| | 05:54 | Alright so that's why I have got 25% inside the
dialog box and a 100% outside the dialog box.
| | 06:00 | Let's now take this amount value down to something
more reasonable and I am going to scale it
| | 06:05 | down to 200% just as sort of a starting level.
| | 06:09 | And now if you don't feel like that's high enough
based on the previews that you are seeing on screen,
| | 06:13 | you can press Shift up arrow in order
to raise that value in 10% increments.
| | 06:18 | If you feel like it's too high then you can press
Shift down arrow to lower the value in 10% increments.
| | 06:24 | Now you can also just press the Up and Down arrow keys
without the Shift key in order to raise and lower the value
| | 06:30 | in 1% increments, but 1% increments
aren't really going to do with that much.
| | 06:34 | So that's why I tend to work in 10%
increments where amount is concerned.
| | 06:38 | So I work with the Shift key with amount and I work with
and without the Shift key for radius and I work totally
| | 06:44 | without Shift key for our threshold, in case you are curious.
| | 06:48 | Alright anyway I am going to take this value down to
about a 160%, I think a radius of 2 pixels and a threshold
| | 06:55 | of 8 works well for this image, I am going to go
ahead and click OK in order to accept that effect.
| | 07:00 | So this is the image before I apply the sharpening,
this is the image after I applied the sharpening.
| | 07:07 | We can customize the amount of sharpening
we apply using Unsharp Mask.
| | Collapse this transcript |
| Sharpening the luminance data| 00:01 | Here's the sharpened version of the orange
on blue snake from the previous exercise.
| | 00:06 | Now were you to inspect this image very carefully, you might
start to notice that there are some color disparities showing
| | 00:15 | up inside the image so in addition to sharpening the
edge detail, the Unsharp Mask command has also brought
| | 00:23 | out some color anomalies and they are very subtle as it turns out
but they are evident inside this image but subtlety be darned.
| | 00:32 | I figure I am going to show you when I am talking about
more obviously inside of a totally different image here,
| | 00:38 | so I would like you to switch this
image, it's called barehead.jpeg,
| | 00:43 | it's also available to you inside the Elevensharpen folder.
| | 00:47 | Now this image I shot, I photographed this one, it's a
bare head on a wall unfortunately dead animal I am afraid.
| | 00:55 | Now if you check out its fur, I am going
to go ahead and zoom in on the fur here.
| | 01:00 | It looks like it's fairly uniformly
sort of orange and warm, doesn't it?
| | 01:05 | Turns out that there are some slight color variations going on
and some rather cool shades going on inside of this fur as well
| | 01:14 | and that's the kind of thing that the Unsharp Mask command and
any sharpening functioning for that matter tends to exaggerate
| | 01:21 | and I want to show you what I am talking about.
| | 01:23 | So let's go up to the Filter menu and notice now that the
first command at the top of the Filter menu is Unsharp Mask.
| | 01:29 | We could repeat the last settings we applied by pressing Ctrl+F
on Command+F on the Mac or if wanted to bring the dialog box back
| | 01:39 | up on screen and apply different settings then
you would press Ctrl+Alt+F or Command+Option+F.
| | 01:45 | Let's go ahead and do that.
| | 01:46 | I will go ahead and escape off the menu here and
I would press Ctrl+Alt+F on my keyboard in order
| | 01:52 | to bring up the Unsharp Mask dialog box once again.
| | 01:56 | And I am going to apply some very exaggerated numbers here.
| | 02:00 | I am going to zoom out from the barehead inside of the in
dialog box preview and I am going to focus in on his eye here
| | 02:07 | and I am going to take this amount value up to
500% and I am going to raise the radius value to 4
| | 02:12 | and I am going to take the threshold value down to 0.
| | 02:15 | Alright so these are some very exaggerated values
but go ahead and check out what the barer looks like.
| | 02:21 | I am zoomed in now to the 100% zoom ratio.
| | 02:24 | Not only am I bringing out a lot of noise which one would
expect given the high amount value and high radius values
| | 02:31 | but I am also bringing out a lot of weird colors inside the
bare and there is nothing special going on inside of this image.
| | 02:38 | This is the way it is.
| | 02:40 | I didn't prep this image to make it specifically behave this way.
| | 02:43 | It just has this quality about it and what's happening is
| | 02:47 | that Photoshop is exaggerating color problems
that were already inherent inside the image.
| | 02:53 | They were just so subtle that we couldn't see him but now that
we have sharpened the image we really can't see the problems.
| | 02:59 | So alright, I am going to go ahead and click OK
in order to apply those exaggerated settings.
| | 03:05 | What's happening here is that Photoshop is going through
and sharpening the red channel, the green channel
| | 03:11 | and the blue channel independently of each other.
| | 03:13 | Check out that blue channel.
| | 03:15 | What a mess?
| | 03:16 | Now I photographed this image using a midrange
camera, so not a really super deluxe model
| | 03:22 | and mid-range cameras often hide a bunch of garbage inside
the blue channel and that's what's happened to this image.
| | 03:29 | So this is the before version of the blue channel,
still really bad and this is the after version,
| | 03:34 | thanks to the Unsharp Mask command and thanks
to the horrible mess of this blue channel.
| | 03:39 | We are having a lot of color mis-registration
going on in the composite RGB image
| | 03:44 | and as a result we are seeing blue
and purple up here inside of the hair.
| | 03:49 | Alright I am going to zoom back out because we
can see it clearly from pretty far away here.
| | 03:54 | Alright I am going to show you two fixes for this effect.
| | 03:57 | I am going to undo the Unsharp Mask command.
| | 03:59 | First I will show you a very popular technique for avoiding color
sharpening and strictly sharpening the luminance levels inside
| | 04:08 | of an image and then I will show you what I think
is a better and certainly an easier way to work.
| | 04:13 | Alright so here's the common technique, starting
with an RGB image go up to the Image menu,
| | 04:19 | choose mode and switch to L-A-B color or LAB color if you prefer.
| | 04:25 | And that divides the colors inside of
an image into 3 different channels,
| | 04:30 | lightness which is all the luminance levels
then we have got A and B. Now they don't look
| | 04:37 | like much but there are different color variations.
| | 04:39 | Basically B is showing you your temperature variations between
blue and yellow and A is showing you your tenth variations
| | 04:47 | between green and magenta and we will look at temperature and
tend to more detail when we take a look at Camera but for now
| | 04:55 | if you want to see what their contributions are you can just turn
on like A and lightness at the same time and then you can see
| | 05:02 | that A is contributing the greens and magentas.
| | 05:05 | I will turn off A and I will turn on B and you can
see that B is contributing the yellows and blues.
| | 05:11 | Alright, doesn't really matter because always care about is
lightness, so what I want you to do is this, starting in the LAB,
| | 05:18 | the composite LAB image, click on the lightness channel here
inside the Channels Palette and then click the eyeball in front
| | 05:25 | of the LAB image so that you are seeing all the channels
but you are only modifying the lightness channel.
| | 05:30 | Now go to the Filter menu and reapply the Unsharp Mask command.
| | 05:34 | You don't have to press Ctrl+Alt+F or Command+Option+F this time.
| | 05:37 | You can just choose the command or
press Ctrl+F and notice what happens.
| | 05:40 | This time the exact same settings and amount of
value 500%, a radius of 4 and a threshold of 0
| | 05:47 | and we are not exaggerating the color disparities at all.
| | 05:51 | We are only focused in on the luminous levels inside the image.
| | 05:55 | Alright, so that's one way to work.
| | 05:57 | It's a good way to work.
| | 05:58 | There is nothing wrong with it except it's kind of a multistep
operation and in that regard it's a little bit inconvenient.
| | 06:04 | My preferred way to work is not only a little
more straightforward and involves fewer steps
| | 06:09 | but also it provides a little more flexibility as it turns out.
| | 06:12 | So I am going back-step I am going to press Ctrl+Alt+Z,
Ctrl+Alt+Z a couple of times there to restore the RGB version
| | 06:19 | of my image that would be Command+Option+Z
twice on the Macintosh side of things.
| | 06:24 | Now here I am back in the RGB image.
| | 06:26 | I am going to reapply the filter once again by just
choosing the Unsharp Mask command from the Filter menu.
| | 06:31 | It's going to look right and it's going to look horrible.
| | 06:34 | Now go to the Edit menu and choose Fade Unsharp Mask.
| | 06:38 | Brings up the Fade dialog box which
allows you to merge the after version,
| | 06:42 | the Unsharp Mask version of the image
with the original version of the image.
| | 06:46 | Now I am going to start things off
by modifying the mode setting here.
| | 06:51 | I am going to click on the word Normal and notice these
guys down here Hue Saturation Color and Luminosity.
| | 06:57 | Now as we have seen in the past color is made
up of Hue and Saturation working together.
| | 07:03 | Where I to apply my modifications just to the
color, I would just bring out these color anomalies
| | 07:09 | and I would not affect the luminance levels at all.
| | 07:12 | The opposite of color is luminosity right here, if
I choose it I will only affect the luminance levels
| | 07:18 | and I won't affect the color at all and that's what I want.
| | 07:21 | So go ahead and choose luminosity, notice
what it does, those colors fade away.
| | 07:25 | We get the original colors inside the bare.
| | 07:28 | We apply the Unsharp Mask command just to the luminance
levels and here's where I say thanks for more flexible.
| | 07:34 | Now that I have seen that luminosity takes
care of my problems I can back off my affect.
| | 07:39 | I know I went way too far with it, right, I didn't want an
amount value of 500% and a radius of 4, that's ridiculous.
| | 07:46 | So I will go ahead and tamper my
affect by reducing the opacity value.
| | 07:51 | I can apply both operations from one dialog
box with convenience and I didn't have
| | 07:56 | to go onto the LAB mode so it's totally awesome.
| | 07:59 | I will click OK in order to accept the affect.
| | 08:02 | Now I am going to go ahead and show you
before and after version of my sharpening.
| | 08:05 | I will press the F12 key to load the original image, the one
that was saved to disk and then I would press Ctrl+Z or Command+Z
| | 08:13 | in order to show you the sharpened version, thanks
to the Unsharp Mask filter and the Fade command set
| | 08:19 | to the luminosity blend of mode and a lowered opacity value.
| | Collapse this transcript |
| USM vs. Smart Sharpen| 00:00 | We now move from a topic of Unsharp Mask to the topic
of Smart Sharpen, the more powerful, more capable,
| | 00:08 | and more complicated as it turns out Smart Sharpen filter.
| | 00:12 | It does almost everything that Unsharp
Mask does plus a whole lot more.
| | 00:17 | So I am going to demonstrate how it functions by
comparison to the Unsharp Mask filter and I am also going
| | 00:24 | to show you the three primary settings in how they
compare to each other using this illustration right here,
| | 00:31 | which is called bigbrushstrokes.bsd it's included inside of
the 11 Sharpen folder of course and it features four versions,
| | 00:40 | just four identical versions of this brushstroke what I am
calling a big brushstroke here, it's really this big thick sort
| | 00:46 | of dark area with some light circles inside of it.
| | 00:50 | And this big dark area here helps to see
very distinct edges inside of the image
| | 00:56 | as well as little edges represented by the texture.
| | 01:00 | So, that will help us to get a sense of
what's going on with this new filter here
| | 01:06 | that was introduced by the way inside Photoshop CS2.
| | 01:08 | I am going to go ahead and reduce my pallets to icons over here.
| | 01:14 | So this is the Layers pallet, I am going to go ahead and click
on it to bring it up and I just want you to see that each one
| | 01:19 | of these identical images is relegated to its own layer.
| | 01:23 | So we have got Unsharp Mask in the upper left
corner, Gaussian Blur as we will see that's one
| | 01:28 | of the Smart Sharpen settings over
here in the upper right corner.
| | 01:31 | Then we got Lens Blur another Smart Sharpen setting down in the
lower left corner and Mo-Blur, yet, another Smart Sharpen setting
| | 01:38 | down in the lower right corner, just so
you have a sense of what's going on here.
| | 01:41 | So make sure wherever your Layers pallet is, make sure
that USM shot for Unsharp Mask of course is highlighted,
| | 01:50 | so that we are working on the upper left
image, then I want you to go the Filter menu
| | 01:55 | and you will see that Unsharp Mask is right there at the top.
| | 01:58 | So what I recommended you do at this point is go ahead and click
and hold on that mouse button, so the menu doesn't go away.
| | 02:04 | Then press and hold on the Alt key or the Option
key on the Mac and then release the mouse button
| | 02:09 | and up will spring the Unsharp Mask dialog box.
| | 02:12 | Here's the settings I want you to apply, go ahead and change
the amount value to 200% and then change the radius value
| | 02:19 | to 20 pixels, a big heaping helping of Unsharp
Mask here, it might as well drag the preview
| | 02:25 | into the dialog box, so we can see what's going on.
| | 02:28 | Finally, leave the threshold set to zero
levels, because there is nothing analogous
| | 02:33 | to the threshold option inside the Smart Sharpen dialog box.
| | 02:36 | So if we end up messing with it, it will
ruin our comparison, so leave it set to zero.
| | 02:41 | If it's set to something else, set it to zero by all means
and then click on the OK button in order to apply that filter.
| | 02:47 | Alright, now let's go over to the Layers pallet once again and
click on Gaussian Blur this time around and then I am going
| | 02:55 | to hide the Layers pallet by pressing the F7 key again.
| | 02:57 | Now, the upper right hand image here is highlighted and
just in case you are thinking like you only have two
| | 03:04 | of these brushstrokes on screen, what's the deal, the
other ones are down here; they are there, alright anyway.
| | 03:08 | So the upper right layer is now active, I am going to go up to
the Filter menu, I am going to choose Sharpen and I am going
| | 03:15 | to choose Smart Sharpen, you can also
press Shift+F6 if you loaded D keys.
| | 03:21 | I went ahead and gave you that keyboard shortcut because this
is a sensational command that you are going to want to use
| | 03:25 | on a regular basis and it's fairly hard to
get to because of the submenu system here.
| | 03:30 | And also the fact that there are still different submenus that
start with an "S" that always throws me off, I don't know,
| | 03:35 | maybe I am challenged, but anyway I am going to
go ahead and choose the Smart Sharpen function.
| | 03:40 | Now, you will immediately notice among other things that it's
more gargantuan or maybe you won't, you know on a regular screen,
| | 03:47 | it doesn't look this massive, but I am recording a 1024x768
and therefore this dialog box takes up almost my entire screen.
| | 03:56 | So we are just going to have the focus on the in-dialog
box preview here, which works just like it does,
| | 04:01 | it's just more massive, but it work just like
it does inside the Unsharp Mask dialog box.
| | 04:05 | Alright, let's replicate those same settings that we saw before.
| | 04:08 | First of all make sure that basic is turned on, don't worry
about the default settings, you should see the default settings
| | 04:14 | by the way, but don't worry about
what the settings option is set to.
| | 04:18 | We do need to go ahead and enter an amount
value of 200% and a radius value of 20 pixels,
| | 04:23 | so that we are matching the last
settings, we applied inside Unsharp Mask.
| | 04:27 | Also make sure that Remove is set to Gaussian Blur meaning that
Photoshop is going to try to remove Gaussian Blur from the image
| | 04:35 | and it does that actually by applying Gaussian Blur.
| | 04:38 | I know that it just doesn't make any sense sometimes, but it's
masking just in the same way the Unsharp Mask Command works,
| | 04:44 | it's masking a Gaussian Blur haloes, with dark
halo on one side and light halo on the other side.
| | 04:50 | And More Accurate is turned off, make
sure that one is off alright, so 200%,
| | 04:55 | 20 Gaussian Blur that's it, then go ahead and click OK.
| | 04:59 | And you might be struck by the amazing
similarity between these two images.
| | 05:03 | Now, I told you did I not, that Smart Sharpen it's
very more complicated and it's very more powerful
| | 05:08 | than the Unsharp Mask command and it's true
I did not lie, I wouldn't do that to you.
| | 05:12 | It's all true, the reason we are seeing very similar
images and actually they are not very similar,
| | 05:18 | they are pixel for pixel identical, it's because first of all we
enter the same settings and secondly, we set the Remove function
| | 05:26 | to Gaussian Blur that means that that is
exactly what the Unsharp Mask command does.
| | 05:31 | So basically, what I am trying to show you is Smart Sharpen
does everything that Unsharp Mask done, plus much more.
| | 05:37 | Now, that one thing it doesn't do, it doesn't have
anything that's analogous to that Threshold option
| | 05:42 | and that's actually more or less
a good thing as we will find out,
| | 05:45 | because the Threshold setting is an on-off
proposition, it's not really all that terribly useful.
| | 05:50 | What Smart Sharpen is more useful and more intelligent
once we start investigating the other settings,
| | 05:56 | as we will do in the very next exercise.
| | Collapse this transcript |
| Smart Sharpen's Remove settings| 00:01 | I am still working inside the bigbrushstrokes.psd
image that you will find inside the 11 sharpen folder.
| | 00:07 | And you may recall in the previous exercise, I went ahead and
applied the Unsharp Mask filter with an amount value of 200%
| | 00:14 | and a radius value of 20 pixels to this
upper-left hand brush strokes image.
| | 00:20 | We just can't see the bottom to brush stroke images right now.
| | 00:25 | And then, I turned around and applied the Smart Sharpen filter
using the same amount and radius values with a remove settings
| | 00:32 | of Gaussian Blur to this upper-right hand version of
the brush strokes image, and we discovered that the two,
| | 00:39 | our pixel for pixel identical, the
two effects exactly match each other.
| | 00:43 | So, what's the big deal with the Smart Sharpen function?
| | 00:46 | Well, it offers a lot more options
including two other remove settings.
| | 00:51 | Right now, we have remove set to Gaussian
Blur but we can also set it to Lens Blur
| | 00:56 | and to Motion Blur as well, and we should check that out.
| | 01:00 | But first, I want to show you what's going on with my image and
you should have an open on-screen if you have got access to it.
| | 01:06 | Notice that there are these other two brush
strokes down here that have not been modified
| | 01:12 | and I call these guys Brush Strokes even
though they are not really brush strokes,
| | 01:15 | but they are thick lines that provide us with some edges here.
| | 01:19 | Notice that I have exactly aligned a size of my window so I
can pop back up and down between these brush strokes so that
| | 01:26 | when I pop up and down, they will exactly align with each other.
| | 01:29 | And I am going to do that popping using the Home and End of keys.
| | 01:34 | The Home key takes you to the upper-left corner of an
image and the End key, and I am talking about those keys
| | 01:40 | on the right-hand side of your keyboard, the End key takes you
to the lower right hand corner of your image as it turns out.
| | 01:47 | And you may say hey, Deke, why didn't you mention those
keyboard shortcuts way back in the navigation section?
| | 01:53 | Because you weren't ready for them.
| | 01:55 | Actually, that's a lie, I forgot.
| | 01:58 | But, nevertheless, you weren't ready for them, now you are.
| | 02:02 | Anyway, I have got to press the Home key again so we can
see those, just see how they exactly align with each other.
| | 02:07 | That's going to come in handy in just a moment.
| | 02:09 | Now, I am going to press End in order
to see the bottom two images.
| | 02:12 | And yours may not exactly align, this is
totally a function of having meticulously size
| | 02:17 | of this window so this little trick is going to work.
| | 02:20 | Alright, anyway, I am going to press the F7 key to bring up my
Layers palette here and I am going to click on the Lens Blur item
| | 02:26 | which selects the bottom up left hand image, and I will
go ahead and press the F7 key to make that go away again
| | 02:33 | and then I am going to press, because the last filter I
chose was the Smart Sharpen filter, I am going to go ahead
| | 02:40 | and press Ctrl+Alt+F or Command+Option+F
on the Mac in order to bring back
| | 02:44 | up the Smart Sharpen dialog box,
complete with the last settings I applied.
| | 02:48 | And now, I am going to change the remove setting from Gaussian
Blur to Lens Blur, and I invite you to do the same thing.
| | 02:55 | Now, the idea here is Lens Blur is going
to give us a different style of halo,
| | 03:01 | did you see that, it's pretty different than Gaussian Blur.
| | 03:03 | The Gaussian Blur halo is soft and very drifty, pretty
big as it turns out, fills out a big area of radius.
| | 03:11 | But the Lens Blur halo meanwhile is tighter as it turns out, it's
more selective and it's designed to account better for images
| | 03:20 | that have a little softness that were sharp with digital cameras.
| | 03:24 | So Gaussian Blur is a better choice if you have down sampled an
image or if there is some softness associated with the scanner,
| | 03:32 | so in other words, you scanned an image and it's a little soft
| | 03:35 | because of your scanner hardware as
opposed to the original image itself.
| | 03:40 | And Gaussian Blur is a pretty good setting, but Lens Blur
is much better where digital photographs are concerned
| | 03:45 | and where sharp film scans are concerned as well.
| | 03:49 | Anyway, I am going to go ahead and click
on OK in order to accept that modification.
| | 03:53 | Now, let's take advantage of that
Home/End trick I was showing you.
| | 03:57 | This is the remove Gaussian Blur version of the image.
| | 04:00 | It's actually the Unsharp Mask version
but they are exactly the same.
| | 04:04 | So it severs its purpose of comparison here.
| | 04:06 | And I got to it by pressing the Home key of course.
| | 04:08 | And if I press the End key, we will see the Lens Blur version.
| | 04:11 | So this is Gaussian Blur, this is Lens Blur, this is
the loosey-goosey Gaussian Blur here, very distributed.
| | 04:19 | This is the much tighter, more focused if you will Lens Blur.
| | 04:23 | Alright, now, let's check out the final option.
| | 04:26 | I am going to press the F7 key to bring
out the Layers palette once again.
| | 04:29 | Let's switch over to MO Blur, short for Motion Blur.
| | 04:32 | Press F7 to make that palette go away, and I am going to press
Ctrl+Alt+F in order to bring up the Smart Sharpen dialog box.
| | 04:40 | Move that guy into the preview area so I can see what I am doing.
| | 04:43 | Now, I am going to choose Motion Blur, and
you will see a big difference this time.
| | 04:47 | Notice that this is a directional haloing effect that we
have right now and you can specify the angle if you want to.
| | 04:55 | So for example, I could go ahead and raise that
angle value to set it to let's say 45 degrees,
| | 05:01 | so that we just have a nice diagonal halo going on here.
| | 05:05 | And so you can see we have got instead of tracing all
the way around the circles for example with the dark halo
| | 05:11 | and all the way inside with a light halo, we have basically
what look like drop shadows, so we have got a dark drop shadow
| | 05:18 | in one direction and the other direction as well inside
the dark area of the image and inside the light area,
| | 05:24 | we have a directional glow going on
right there and right there as well.
| | 05:30 | So, we get yet a tighter effect you will notice than we got
with the Lens Blur and it's a directional effect as well,
| | 05:38 | and it's designed for situations where
you encounter camera shake essentially.
| | 05:42 | If you have got either a movement in your image or you
move the camera, then you can use Motion Blur to account
| | 05:48 | for that movement, and I will go ahead and
click OK in order to accept the modification.
| | 05:52 | You can of course compare these two guys side by side and
I will go ahead and compare with the Home and End key,
| | 05:59 | so I will compare this Motion Blur setting to the Gaussian Blur.
| | 06:02 | This is Gaussian Blur right there
and this is Motion Blur right there.
| | 06:06 | Alright, so you can investigate more to
your heart's content using this image
| | 06:10 | if you enjoy this sort of analytical approach to your filters.
| | 06:13 | If not, if you prefer to see how the darn
filter actually functions and how you use it
| | 06:18 | on a regular basis, then join me in the next exercise.
| | Collapse this transcript |
| High-resolution sharpening| 00:00 | Now let's see how we might use the Smart Sharpen command in order
to sharpen a high-resolution image. This is a very large image,
| | 00:09 | as it turns out, from photographer Kateryna Govorushchenko.
| | 00:13 | A beautiful image. She goes by the handle incidentally, of iconogenic
at iStockphoto.com. iconogenic is also the name of her website.
| | 00:22 | And if you care learn more about any of these wonderfully
| | 00:26 | generous photographers, you can always go to the File Info command
| | 00:30 | under the File menu.
| | 00:31 | And this image is indeed a high-resolution image.
Notice the dock value of 12.7 MB, so at 267 PPI,
| | 00:40 | this image is more than 12 inches tall.
| | 00:42 | So it's something of a real world image, if you will and we are going
to get a real world effect out of it using the Smart Sharpen filter.
| | 00:50 | I'll press the F key a couple of times in order to enter
the Full Screen with Menu Bar mode which allows me
| | 00:57 | to scroll the image off screen like this.
| | 01:00 | So that I can keep an eye on it while the
massive Smart Sharpen dialog box is up on screen.
| | 01:05 | You will know under the Filter menu that the
Smart Sharpen command was last filter I chose,
| | 01:10 | therefore I'll press Control+Alt+F or Command+Option+F on the Mac
| | 01:12 | in order to bring up the Smart Sharpen dialog box.
| | 01:16 | I should tell you, if you didn't notice, that I'm viewing
the image inside the image window, that is to say,
| | 01:21 | at the 25% zoom ratio. So it's a good zoom ratio and
I can get a real sense of how all my sharpening's
| | 01:29 | going to affect that image.
| | 01:30 | Meanwhile I'm seeing the image magnified to 100% here inside
the dialog box. I'm seeing a portion of her cheek though,
| | 01:36 | so I'll click on her eye in order to re-center that preview.
| | 01:41 | And this is the opposite way of the way I was telling you
I usually work where I go and zoom out on the in dialog box preview
| | 01:47 | and zoom into the one outside.
| | 01:49 | But in my case, I have about the same amount of room
inside the dialog box and outside the dialog box.
| | 01:55 | So I figure either ways just fine.
| | 01:57 | Your screen's going to be of course
much more generous to you, I think.
| | 02:01 | Anyway let's go ahead and switch the Remove setting to
Lens Blur. No real sense and even looking at Gaussian Blur.
| | 02:06 | We've already seen what Gaussian Blur does because
we spent a long time in the Unsharp Mask dialog box and
| | 02:12 | Unsharp Mask only removes Gaussian Blur.
| | 02:14 | So let's switch to the more powerful, more capable Lens Blur
filter, at least more capable where digital photographs
| | 02:21 | like this one are concerned.
| | 02:22 | And currently I have the Radius value quite elevated as you
may recall. Now sometimes an elevated Radius value's actually
| | 02:29 | useful on a day-to-day basis. For sample
if I were to take the Amount value down
| | 02:34 | to about 50% let's say and then I'll elevate
the Radius value to 50 pixels. So a low Amount
| | 02:40 | combined with a high Radius ends up producing a high
contrast effect, an elevated contrast effect notice that.
| | 02:47 | So this is before.
| | 02:49 | And this is after, inside the dialog box, and
if you'll keep an eye outside the dialog box now,
| | 02:56 | I'll show you before and an after there.
| | 02:57 | So a low Amount combined with a high Radius, great for elevating
the contrast. That's not what I want to do however in this case,
| | 03:04 | so I'm going to go and take the Radius value way down.
| | 03:07 | To 0.5 pixels and I'll take the Amount value up to its maximum 500%.
| | 03:13 | And notice now that we get an extremely subtle effect. It's
almost not any good because not only is the Smart Sharpen filter
| | 03:22 | tracing the real edges inside of the image.
| | 03:24 | But it's also tracing the artificial edges,
| | 03:27 | whether they come from JPEG compression artifacts,
which actually isn't really the problem inside of this image.
| | 03:33 | This is a JPEG image.
| | 03:35 | but it's compression is very, very light. What we're
actually seeing is the demosaic pattern that is a function
| | 03:43 | of bringing an image in from a digital camera
and if you want to learn more about demosaicing,
| | 03:48 | you can check out my Photoshop Mastering Camera RAW series
| | 03:52 | in which I go into a good deal of detail about that.
| | 03:55 | Anyway now at this point, let's start raising that Radius value.
Since it's not really doing us any good this low, let's take it up.
| | 04:01 | Add about one pixel when you're working with
the Smart Sharpen function. One pixel of Radius is
| | 04:08 | that super, snappy sharp Radius that we were seeing at
a lower Raduis value inside the Smart Sharpen dialog box.
| | 04:15 | So if you're doing screen work, I recommend something
around one pixel. In fact, I would suggest about one pixel
| | 04:21 | of Radius for every 100 pixels of resolution.
| | 04:25 | So that means that we're looking at something along
the lines of 100 PPI image on screen so we're settling
| | 04:32 | for about one pixel of Radius here. I'm going to continue to
take this value up actually. I'll go Shift+Up arrow, Shift+Up arrow
| | 04:39 | Shift+Up arrow and about at four pixels- even though
I'll be printing this image at 267 to 300 PPI,
| | 04:47 | something in that range- I like a Radius of four pixels where
this image is concerned. So that one pixel of Radius for
| | 04:52 | every 100 pixels a resolution, that's just a ballpark figure,
| | 04:55 | and I expect you to vary from it at will,
but it's just an FYI in case you want it.
| | 05:02 | Anyway, I think this image looks really super
sharp in the background here at the 25% view size,
| | 05:07 | which represents more less how it's going to print,
| | 05:10 | and it also looks nice and sharp without
looking too gooey here at the 100% view size.
| | 05:15 | Now I'll go and take the Amount value down. It's way too darn high
so let's go ahead and actually instead of pressing Shift+Down arrow,
| | 05:23 | let's Shift+scrub on the Amount value here to go up and down
in 10% increments and add about 250%. I think it starts looking good.
| | 05:32 | Note when you're doing then Shift+scrubbing,
you've got to release the mouse button
| | 05:36 | in order to update the preview properly.
| | 05:39 | Alright, so it's not a live update, which is too bad.
I wish it was but anyway we'll take it to 250%.
| | 05:44 | I think that'll look awfully darn good.
| | 05:47 | 250% combined with a Radius of four
pixels looks awesome for this image.
| | 05:52 | And notice that I'm leaving More Accurate
turned off. Why am I leaving it turned off?
| | 05:58 | Well, I'm going to tell you that whole story
| | 06:01 | in the next exercise.
| | Collapse this transcript |
| Leave More Accurate off!| 00:00 | Alright as promised in the previous exercise I am going to show
you how the more accurate checkbox works and notice if you hover
| | 00:07 | over it you get this little tip that says toggle
to produce more accurate sharpening effect,
| | 00:11 | which isn't very helpful because it's just repeating
what we are already seeing here more accurate.
| | 00:16 | And it implies that we should go ahead and select it,
after all who wants a less accurate sharpening effect?
| | 00:22 | Nobody. Well as it turns that's not
really what this checkbox does.
| | 00:26 | It does a double sharpening, sort of a
double scrub sharpening inside the image.
| | 00:30 | Go ahead and turn it on and you will see what I am talking about.
| | 00:33 | Did you see that second pass of sharpening going
on there, so it's doing an ultra-fine sharpening
| | 00:39 | of the very, very tiny details inside the image.
| | 00:42 | You might think of it as being almost the opposite of the
threshold function so where the threshold function allows you
| | 00:49 | to rule out microscopic edges inside
of an image more accurate goes through
| | 00:54 | and exaggerates the microscopic edges inside the image, which
is probably not what you want to do for a portrait shot.
| | 01:02 | Now this woman, this model is very fortunate
in that she is almost perfect in terms
| | 01:07 | of her skin and her makeup and her teeth and so on.
| | 01:12 | Check out this tooth in fact.
| | 01:14 | Don't think it would kill you.
| | 01:16 | She still has little sort of these fine hairs on her
mouth and these fine hairs coming off of her nose
| | 01:22 | and I say she is a very fortunate
person because here I am inspecting her
| | 01:26 | on this microscopic level and she
is still holding up pretty well.
| | 01:30 | It's unlikely that the subjects of your
portraiture are going to hold up nearly as well,
| | 01:34 | especially if they are just plain old
ordinary people as opposed to models.
| | 01:39 | And this is a very unkind option to apply to them.
| | 01:43 | I am here to tell you.
| | 01:44 | I know portrait photographers who won't even sharpen their
shots, they won't apply Smart Sharpen or Unsharp Mask
| | 01:49 | to anything they photograph instead
they will start blurring them.
| | 01:52 | Now we will talk about that in the
next chapter but for now just be kind,
| | 01:56 | turn this checkbox off when you are working with portrait shots.
| | 02:00 | In the next exercise I will show you an instance
in which this is actually a useful function.
| | 02:06 | Alright, but not where portraitd are concerned so let's leave
it off, amount of 250, radius of 4.0 pixels this is wonderful.
| | 02:13 | I am going to go ahead and click on the OK button
in order to apply the effect and this is an example
| | 02:19 | of high resolution sharpening with more accurate
turned off here as applied with a smart sharpen filter.
| | Collapse this transcript |
| Turn More Accurate on| 00:01 | Now, I was telling you in the previous
exercise that you want to leave
| | 00:03 | that more accurate checkbox inside the Smart Sharpen dialog box,
you want to leave it turned off when you're sharpening portraits.
| | 00:11 | That's my advice anyway unless you have just a model
of perfection and you want to Alt sharpen that person
| | 00:17 | because not only are you going to exaggerate pores
and nasty details in the flash and all that jazz,
| | 00:23 | but you are also going to exaggerate the
digital noise that's associated with the photo.
| | 00:27 | When would you want to use more accurate,
when would you want to turn it on?
| | 00:30 | Well, anytime that you want to do some micro sharpening like in
this still life for example, I might want to sharpen the fabric
| | 00:39 | in this t-shirt, this is a stretched t-shirt in the
background because I shot this image at a cabin for reasons
| | 00:45 | that will become evident in just a moment or maybe I want to
sharpen the wood grain inside of these little scrabble tiles.
| | 00:51 | And this is a very low noise photo that I shot as well so it's
going to hold up when we apply the more accurate option to it.
| | 00:58 | Now, the reason I shot this image was because I lost a game
of scrabble and I was just convinced that this game is messed
| | 01:05 | up because I was being a sore loser
of course, but it is messed up.
| | 01:08 | Let's see how we might go ahead and sharpen this image, shall we?
| | 01:12 | Alright, so go ahead and press Ctrl+Alt+F or Command+Option+F
to redisplay the Smart Sharpen dialog box assuming
| | 01:19 | that it was the last command you applied from the Filter menu.
| | 01:21 | And I still have my same amount value and
radius values here from the previous exercise.
| | 01:27 | I am just going to go ahead and turn more accurate on.
| | 01:29 | Of course, I am removing Lens Blur by the way, and
you can see, did you see that high-level tracing
| | 01:35 | of the t-shirt fabric and of the wood grain inside of the tiles?
| | 01:39 | Now, that's way too much so I am going to take these values down.
| | 01:41 | First of all, I am going to take that radius value down a
notch by pressing Shift+Down arrow to get it down to 3 pixels,
| | 01:47 | which I think is more reasonable for this image.
| | 01:49 | And I am going to take that amount value way down here.
| | 01:52 | Let's take it down even further.
| | 01:54 | And about 100% I think is going to work well for this image.
| | 01:57 | So this is before and this is after, so
quite a bit of sharpening getting applied.
| | 02:02 | Thanks to the more accurate checkbox.
| | 02:04 | And just to see the difference between having this on
and off, I will turn it off, much more subtle effect.
| | 02:09 | Now, let's do it before and after.
| | 02:10 | This is before, this is after, barely
any modification happening at all,
| | 02:14 | but when I turn more accurate on, we can see a big difference.
| | 02:18 | And once again, it's going through and sharpening these
individual threads in the t-shirt and these individual bits
| | 02:25 | of wood grain inside of the tile and also doing a
very nice job of sharpening these tiny little details
| | 02:31 | such as the horrible scores that are associated with this letter.
| | 02:35 | So for this image, more accurate turns out to work very, very
well because we want this microscopic level of sharpening.
| | 02:43 | Go ahead and click OK in order to accept the effects.
| | 02:45 | Well, now, we are looking at the image at 50% zoom ratio.
| | 02:48 | Here is before and here is after.
| | 02:51 | This time, thanks to turning the more accurate
checkbox on inside the Smart Sharpen dialog box.
| | Collapse this transcript |
| The Advanced options| 00:00 | Before we look at the third remove setting
which is Motion Blur I want to introduce you
| | 00:05 | to the advanced settings inside of the Smart Sharpen dialog box.
| | 00:09 | To that end go ahead and open this
image it's called notrespassing.jpeg.
| | 00:14 | This is an image that I shot.
| | 00:15 | It's a low resolution image it's kind of a cruddy image as well.
| | 00:19 | And these advanced settings are useful for cruddy images as
it turns out this image is so cruddy that's it's got a little
| | 00:26 | of bird poop on the top of this on the top of this pole here,
which I knew you would want to stare at for the entire exercise.
| | 00:35 | Actually I am going to move it up so I will make this image a
little more discreet, cover it up buddy alright so now I am going
| | 00:41 | to press Ctrl+Alt+F or Command+Option+F on the Mac in
order to once again visit the Smart Sharpen dialog box here
| | 00:49 | and these are the last settings I applied in the amount
value of a 100% and a radius value of 3.0 pixels.
| | 00:54 | We are going to stick with remove
set to Lens Blur but we are going
| | 00:58 | to change these other values a little bit specifically
I am going to take the amount value up to 400%
| | 01:04 | so that we are exaggerating the amount value when we
can really see what's going on inside of this image.
| | 01:09 | And now I am going to move it down
a little bit not that far down,
| | 01:12 | no little farther up there so we can still see the fly though.
| | 01:15 | It's a little fly sitting here on top of this sign.
| | 01:18 | Now notice that we are clipping some highlights and shadows.
| | 01:22 | One of the effects of exaggerating the edge contrast is that
you will on occasion blur your highlights and clip your shadows
| | 01:32 | but not in super big regions the way you can with a Levels
command for example, let's say, rather you are going to just sort
| | 01:39 | of blow these little edge pixels which isn't as big a deal
but it might not be the effect that you are looking for.
| | 01:45 | So this is before notice that the edge was much more
tampered in this area near the fly and this is after.
| | 01:52 | So let's say you want to turn down the highlights
and shadows well you would take advantage
| | 01:56 | of the advanced options right here go ahead
and click on this Advance radio button.
| | 02:00 | And notice now you have got tabs you didn't have
tabs before check that out now you have got tabs one
| | 02:06 | that includes Sharpen all the sharpen controls that we have
already looked at and the others are shadow and highlight.
| | 02:11 | Now I am going to go ahead and turn
More Accurate off for this image.
| | 02:15 | We certainly don't want More Accurate turned on if
anything we want for this image we want less accurate,
| | 02:21 | fewer flies, less bird poop those kinds of controls.
| | 02:24 | Anyway 400% and a 3.0 radius will work for us.
| | 02:27 | Remove set to Lens Blur, now let's start by
checking out highlights since it's most obvious
| | 02:32 | that we are blowing highlights inside of this image.
| | 02:35 | Now this three values here the bottom two don't do anything
until you adjust the fade amounts, so let's go ahead
| | 02:40 | and crank the fade amount all the way up to a 100% and notice,
did you see that we just faded out those highlights right there.
| | 02:47 | And if you want to fade more highlights if you want to include
more highlights into the highlights grouping there then go ahead
| | 02:53 | and raise the tonal width value if you
want to include fewer luminance levels
| | 02:58 | in the highlight equation then reduce the tonal width
value so in other words if you raise this all the way
| | 03:03 | up to a 100% this is just like a tonal width setting inside of
the shadow highlight dialog box, remember that way back when so
| | 03:10 | in other words the idea is that we are starting with white as
our absolute highlight and then tapering off over the course
| | 03:16 | of the entire brightness range when we set this to a 100%.
| | 03:20 | If you don't want this shadows to be effected at all
not even little bit then back off this option here.
| | 03:26 | I am going to go ahead and take it fairly
high so we can include a few midtones as well
| | 03:30 | so I will take the tonal width value up to 75%.
| | 03:33 | The radius value allows you to distribute
the effect if you need to
| | 03:36 | but in reality it barely does anything it has very little
effect in the way of a visible effect inside of your image.
| | 03:44 | I am going to go ahead and take it up to 10 pixels just
so that radius value is bigger than the radius value
| | 03:50 | that we have assigned for the sharpen effect, just so
that we are not going to see edges inside of edges there.
| | 03:56 | It's very unlikely we would by I am just running a
precaution and then I would go ahead and take that fade value
| | 04:02 | down to something that makes a little more sense.
| | 04:04 | And I am just sort of going to keep an eye on my
preview in order to gauge how much fading I really want
| | 04:10 | and then about 35% I think it looks pretty good
so this is the unsharpened version of the image
| | 04:16 | and this is the sharpened version of the image without any
blown highlights thanks to these values right here and working
| | 04:22 | on this same rational I figure I have probably got some clip
shadows inside this hideous little photograph here so I might
| | 04:29 | as well apply the same settings 35, 75, 10 so let's go ahead
and enter the same values of 35% 75 tonal width and of course 10
| | 04:37 | for the radius value just to keep
things moderately distributed there.
| | 04:42 | And this actually looks pretty good now.
| | 04:43 | This is a before version of the shot and this is an
after version and you see how much we have reined
| | 04:48 | in the sharpening effect even though we still have this
relatively large amount value actually I would say not even
| | 04:55 | relatively this is just a large amount value
but because we have tampered the shadows
| | 05:00 | and highlights we backed off the effect considerably.
| | 05:04 | Now there is one more option inside this dialog box that
I want to show you the fact that you can save out settings
| | 05:10 | and it sufficiently bizarre that I am going to
explain how you work this option in the next exercise.
| | Collapse this transcript |
| Saving Smart Sharpen settings| 00:00 | Alright so we spend a fair amount of time adjusting our
settings here inside of the Smart Sharpen dialog box coming
| | 00:08 | up with Customs Sharpen settings and Custom
Shadow and Highlight settings as well.
| | 00:13 | And note if you switch back to basic at this
point, watch the preview, it didn't change it all,
| | 00:18 | your Customize Shadow and Highlight Settings remain in force.
| | 00:23 | So it's very easy to kind of mess up those settings
for later use, you know you don't always want
| | 00:28 | to be tampering those Highlights and Shadows, do you.
| | 00:31 | And if you go ahead and switch back to basic at this
point and then use the Filter forever from this point on,
| | 00:37 | you are going to have messed up those
shadows and highlight settings
| | 00:40 | and that's going to affect the behavior of the dialog box.
| | 00:44 | I think there should be a reset to default function.
| | 00:46 | Now you would think there would be because there is
this default setting right there but if you choose it,
| | 00:51 | it doesn't make any darn difference because
we have wiped out our old default settings,
| | 00:54 | we have replaced them with new ones as it turns out.
| | 00:57 | And if I go ahead and press the Alt key or the Option key on
the Mac and click on Reset it will just reset the settings
| | 01:03 | to the way they were when I first entered the dialog box
| | 01:07 | which if I have applied the command that
isn't necessarily going to help me out.
| | 01:11 | So what I would suggest you do this
is a long-winded way of saying
| | 01:15 | that you are probably wise to go
ahead and save out your settings.
| | 01:19 | So let's go ahead and leave Advanced enforced so we can at
least see what's going on with shadow and with highlight.
| | 01:26 | And now I am going to go ahead and click on this little Save a
Copy of Current Setting button, this little floppy disk alright
| | 01:33 | because we all save the floppy disks of course.
| | 01:35 | So I am going to go ahead and name these
options Advance Settings just for lack
| | 01:39 | of anything better to call them and I will click OK.
| | 01:42 | Now here is the really important part.
| | 01:45 | Notice that it didn't change the settings options to Advance
Settings it's still set to Default but if you click on the pop
| | 01:50 | up menu here you do have Advance Settings available to you.
| | 01:54 | Now what I would suggest you do is switch back to Sharpen
just so that we are looking at the Sharpen options here
| | 01:59 | and then before you apply the command
you have got to choose Advance Settings,
| | 02:03 | otherwise you will wipe back your default settings.
| | 02:06 | You will not only have saved these settings but you will
wipe out these settings at all and you don't want to do that.
| | 02:10 | Saving settings inside the Smart Sharpen dialog box
is for "who knows what reason" a two-step operation,
| | 02:16 | it's just terrible design in my opinion but you
have got to choose that option and then click OK
| | 02:21 | to make sure you don't wipe out your defaults.
| | 02:23 | Alright so I have just gone ahead and applied my
settings to the image, this is before and this is
| | 02:28 | after so you can see that we have done something to this image.
| | 02:31 | Now let's go back into the Smart Sharpen dialog box
by pressing Ctrl Alt F or Command Option F on the Mac.
| | 02:38 | My Advance Settings are intact of course
because I clicked OK that's all that's about.
| | 02:42 | The Smart Sharpen dialog box always goes ahead and saves your
last settings and makes them the next settings you apply.
| | 02:49 | Alright but now because I didn't save over defaults
I can go ahead and choose the Default Function,
| | 02:54 | it reset these defaults which are messed up but
they are messed up from a couple of exercises ago
| | 03:00 | because we weren't paying attention to our
settings but that does reinstate our default shadow
| | 03:06 | and highlight settings so those are no longer messed up, alright.
| | 03:09 | So I could go ahead and click on the Sharpen Tab.
| | 03:12 | And if I wanted to really reset these guys, I could now
manually by clicking on Basic and leaving the amount value
| | 03:18 | to 100% taking the radius value down to 1 pixel
turning off More Accurate that shouldn't be on
| | 03:25 | and resetting the Remove option to Gaussian blur.
| | 03:28 | Those are the Default Settings right there and then I would
click OK and that just progressively messed up my image
| | 03:34 | so I would go ahead and press Ctrl Z or
Command Z on the Mac to undo that modification.
| | 03:40 | Now we can see we have got nice unmodified
settings at this point.
| | 03:44 | I press Ctrl Alt F again, Command Option F once
again and defaults are now set to the real defaults
| | 03:50 | and Advance Settings are now set to
the real advance settings and so on.
| | 03:53 | So that's how you modify settings.
| | 03:55 | If that seemed totally twisted and bizarre
well, welcome to the way it's implemented.
| | 04:02 | I must say I totally agree with you it is twisted and bizarre
that's why I saved it for a separate exercise but I wanted you
| | 04:08 | to know how it works just in case you want to keep meticulous
track of your settings here inside the Smart Sharpen dialog box.
| | 04:15 | It's a wise idea my friend.
| | Collapse this transcript |
| Accounting for camera shake| 00:00 | In this final exercise we are going to take a
look at that last option that I haven't shown you
| | 00:05 | so far inside of the Smart Sharpen dialog box.
| | 00:09 | That Motion Blur setting that allows you to account for a motion
inside of an image or for camera shake which happens to be
| | 00:16 | at work inside this particular photograph, this image
is called greatexpectations.jpeg and it comes to us
| | 00:23 | from photographer Rasmus Rasmussen and I am going to go ahead
and zoom in on this image so I can see it at the 100% zoom level.
| | 00:31 | And actually I want to go in just a little farther here.
| | 00:33 | I am going in to 200% so that you can see how there
is a little bit of shake associated with this image.
| | 00:40 | So the blur that we are seeing has nothing
to do with the focus not being locked on,
| | 00:44 | the focus was probably locked right on this target here.
| | 00:48 | It looks like we have got a somewhat long exposure because
the photographer was shooting the subject under low light
| | 00:54 | without a strobe and as a result we
have some very nice natural lighting
| | 00:59 | but because the photographer was holding
the camera we have just a tiniest bit
| | 01:03 | of camera shake just a few pixels
of camera shake as you can see here.
| | 01:08 | And we need to figure out both the number of pixels
associated with that camera shake because we have
| | 01:13 | to fix it and we need to know the angle of this shake.
| | 01:16 | Now the easiest way to tell what that angle and distance is,
is to take a look at these little fibrous details right here.
| | 01:24 | You can tell that there is a camera shake in
the eyes and we need to fix the eyes most of all
| | 01:29 | because as you may have heard the
eyes are the window into the soul.
| | 01:33 | But there is also the element of the photograph
that your viewers are most likely to lock on to.
| | 01:38 | So we have got to get those eyes right but in
term of judging what's going on these hairs,
| | 01:42 | these little eyebrow hairs are the most telling so you
can see that we have got sort of an angle like this going.
| | 01:49 | The scrubbing I am doing here is the angle
of movement this is the way the camera shook.
| | 01:54 | And then it looks like it's about I don't know, what's
this about three pixels worth of stuff, let's just go ahead
| | 02:00 | and set up a sort of 2 pixel tall marquee right here maybe
about 3 pixels tall and I will start it where the shake starts
| | 02:09 | at this location right here and then I will move it up 1, 2, 3.
| | 02:12 | Sure enough we have got about 3 pixels, maybe 4
for mapping things out with Pythagoreans theory
| | 02:18 | but I think 3 is going to do us pretty nicely, we will see.
| | 02:21 | At any rate I am going to go ahead and zoom out just
little bit so we can take in the guy at a 100% zoom ratio.
| | 02:26 | Now I am going to press Ctrl Alt F or Command Option F on
the Mac to bring up that last used filter which happens
| | 02:33 | to of course be Smart Sharpen, we have been here for little
while now and I am going to go ahead and zoom in once again
| | 02:40 | on this guy's eyebrows for just a moment here so
that we can make sure we have got the right settings.
| | 02:45 | Notice I have reinstated my default
settings so I am going to have to be careful
| | 02:49 | to save whatever settings I come up with in just a moment.
| | 02:52 | I am going to raise that amount to 400% as I want to do
just to figure out what I am doing here and I am going
| | 02:57 | to change Remove Setting to Motion Blur, I am going to make sure
More Accurate is turned off because it's really not your friend
| | 03:05 | when you are accounting for camera shake, it just ends up
exaggerating, I will turn it on here, exaggerating the noise
| | 03:10 | and making an absolute mess of the image in this case.
| | 03:13 | Alright so I am going to go ahead and turn it off.
| | 03:15 | Now as I was saying there is this kind of angle going on to
the motion inside of this image so let's change the angle
| | 03:22 | of this little line inside the circle to match and
I think 70% is going to work out pretty nicely.
| | 03:28 | I will move this dialog box over so that
we can see this option a little better.
| | 03:31 | And now let's raise a radius value.
| | 03:33 | This time we are not so much concerned
with whether we are going to print
| | 03:37 | or what our resolution is we are more
concerned with the distance of the motion blur.
| | 03:43 | And in this case I was telling you I
think it's about 3 pixels so I am going
| | 03:45 | to just go ahead and take this radius value up to 3 pixels.
| | 03:49 | And you notice, check out what happens when you change that
radius value, you are actually moving the image back and forth
| | 03:54 | or at least creating the appearance of
the image being moved back and forth.
| | 03:58 | Maybe let's try to sort of split the difference between 3
and 4 pixels here by going with a radius value of 3.5 pixels,
| | 04:05 | you can do decimals if you want to inside this dialog
box at least where the radius value is concerned.
| | 04:11 | And this looks actually pretty darn good to me.
| | 04:13 | Let's now check out that eye.
| | 04:15 | This is before because I am dragging, this is after,
looks good to me actually so before once again,
| | 04:20 | after looks like it's settling that eye down quite nicely.
| | 04:23 | Now we are assigning way too high of an
amount value so I am going to take this down.
| | 04:28 | And you might want to take it down lower than this, I am
going to go ahead and assign a value of 300% which ends
| | 04:33 | up exaggerating the noise inside the image quite a bit.
| | 04:36 | You might have better luck with a more subtle value such
as 200% or something along those lines but I don't feel
| | 04:41 | that really completely resolves my camera shake issue here.
| | 04:45 | So I am going to take it up a little higher.
| | 04:47 | Tell you what I will split the difference once again what
the heck let's make everybody happy by going to 250%.
| | 04:53 | So I have got 250% for the amount, 3.5 for the radius,
I am removing motion blur because I am trying to account
| | 05:00 | for that camera shake, I have got an angle of 70 degrees
because that seems to be about what the camera was shaken at
| | 05:06 | and More Accurate turned off of course and the
final thing I need to do before I click OK is what,
| | 05:11 | if I click OK right now I will overwrite my default
settings because that's the way this wacky dialog box works.
| | 05:17 | Instead let's go ahead and save off our settings as
something along the lines of camera shake because even
| | 05:23 | if it's not the camera shake settings that I am going to use
| | 05:25 | on a regular basis they are a good starting point
for any camera shake I might want to adjust.
| | 05:31 | So I will click Okay.
| | 05:32 | Then I will choose Camera Shake from the Settings menu,
very important here because that ensures that you are going
| | 05:38 | to preserve your default settings, you won't overwrite
your default settings and then click OK in order
| | 05:44 | to accept the modification just so that you can
see what an amazing job this filter has done.
| | 05:49 | This is the before version of the
photograph and this is the after version.
| | 05:54 | That's how the Smart Sharpen function is here inside Photoshop.
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|
|
12. Blurring and AveragingWhy the heck would you blur?| 00:01 | Sharpening has a clear purpose. It makes a photograph appear
more sharply focused, but what good are the many blurring and
| | 00:07 | averaging filters? Blurring is something you actively avoid when
shooting a photo. Averaging makes an image look like it was
| | 00:13 | rendered in candle wax and melted. Why would you want to
take an image with sharply focused details and gum it up?
| | 00:20 | Because details are not always good. Especially when
they're unflattering flaws that are ingrained into every square
| | 00:27 | inch of exposed flesh. Entire multibillion dollar industries,
cosmetics, dermatology, plastic surgery are founded on the principles
| | 00:36 | that we just as soon withhold such details from public scrutiny.
| | 00:39 | So where focus is concerned, give me the eyes of an eagle,
| | 00:43 | but make those around me blind.
Photography only makes matters worse.
| | 00:47 | Film adds grain, print adds texture, scanners add dust,
digital cameras add noise. These artifacts are the relatively
| | 00:54 | slight miscommunications inherent in the enormous
translation from real life to the photographic image.
| | 01:00 | Some photographic problems demand meticulous, painterly attention,
as we reviewed back in the chapter on replace retouch and edit.
| | 01:08 | But others just need a little bit of generalized focus removal.
| | 01:11 | That's when you bring in the likes of Gaussian Blur,
Median and Reduce Noise, which not coincidentally
| | 01:17 | are the topics of this chapter.
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| The "bell-shaped" Gaussian Blur| 00:00 | Alright so here is how things are going to go down.
| | 00:02 | In the first portion of this chapter I am going to introduce
you to what I consider to be a few of the best of the blurring
| | 00:09 | and averaging functions inside of Photoshop
and we are going to approach the commands
| | 00:14 | on an analytical level so we can figure out how they work.
| | 00:16 | And then in the second portion of the chapter I will show you the
fun, creative and very practical applications of these filters.
| | 00:25 | Yes they are all filters because they
are edge detection functions after all.
| | 00:29 | I am working inside this analytical illustration here
rectangles.psd inside the 12 Blur Average Folder.
| | 00:35 | Pretty simple little diagrams to start with, just
these rectangles at again sort of a textured background
| | 00:41 | and altogether there is four of them two side by side at the
top and two side by side below so a pair up and a pair down.
| | 00:49 | And of course I have sized my window on screen here so that
I can use the Home and End keys to bounce back and forth.
| | 00:56 | Look at that scroll bar, Home and the images exactly aligned
with each other for comparative purposes don't you know.
| | 01:04 | Alright let's start with the upper left hand image.
| | 01:06 | It should be selected by default but let's just check.
| | 01:09 | I will bring up the Layers palette.
| | 01:10 | Sure enough there it is it's 1TL meaning top left.
| | 01:13 | We also have two top right, three
bottom left and four bottom right.
| | 01:17 | So go ahead and make sure 1TL is active.
| | 01:21 | I am going to press the F7 key to make that palette go away now
| | 01:24 | because I have tucked my palettes
away into these tiny little icons.
| | 01:27 | I tell you what I am falling in love with that feature.
| | 01:29 | It did take a little bit of time actually I have to tell you
but now me and it I see marriage, baby carriage the whole thing.
| | 01:37 | Alright anyway and we got the top left image selected.
| | 01:40 | I want you to go up to the filter menu
now, choose blur and choose the boss
| | 01:44 | of all the blurs this guy right here Gaussian
Blur and it's not going to seem like much.
| | 01:49 | This is a very simple filter as it turns out.
| | 01:52 | All you have got is a radius value and it just blurs things.
| | 01:54 | Big deal, big whoop but how it works is
sort of key to understanding what's going
| | 01:59 | on with filtering in general inside Photoshop.
| | 02:01 | I did allude to it back when I was
talking about unsharp mask and smart sharp
| | 02:05 | in the Gaussian Blur function you might
recall back in the previous chapter.
| | 02:09 | Anyway let's see what's going on with it.
| | 02:10 | Go ahead and choose the command or if you loaded my Deke keys
you can press Shift F7 in order to bring it up, that works too
| | 02:17 | and I will go ahead and drag the preview
over inside this little preview box.
| | 02:21 | It's not all that necessary because
we can see it out here as well.
| | 02:23 | I am going to change the radius value it starts at 1.0.
| | 02:27 | I mean it's the default setting, refractory default setting.
| | 02:30 | It might appear something else for you, doesn't really matter.
| | 02:32 | Notice that of course I mean this is not unexpected at all for
you and lower values, you are going to do just a little bit
| | 02:39 | of blurring so if you just want a slight panache of
blurring then you can enter a very low radius value
| | 02:44 | such as 0.3 that's about as low as I go.
| | 02:46 | When you drop to 0.2 and 0.1 you start to lose
these radius effects it's basically what's going on.
| | 02:51 | Now I am going to take it up and
just sort of keep an eye on this.
| | 02:54 | I am just pressing the Up arrow key to raise that value in 0.1
increments and now I am going to press Shift Up arrow to raise it
| | 03:04 | in whole number increments until I get up to about here 20
pixels worth of radius and notice how blurry things are now.
| | 03:12 | There are two things I want to point out about the Gaussian Blur.
| | 03:14 | Why in the world is it called Gaussian Blur in the first place?
| | 03:18 | Well it's named after this fellow this mathematician named
Frederick Gauss in case you are curious and it's named
| | 03:24 | after this thing he came up with which is
the Gaussian bell shaped curves so the idea,
| | 03:29 | notice I am kind of drawing half of a bell here.
| | 03:33 | Imagine this is the top of the bell and then I am dragging
down like this and here is the bottom edge of the bell
| | 03:38 | and then it goes over like this and then I drag back up.
| | 03:40 | I just drew a bell.
| | 03:41 | Do you see that?
| | 03:42 | Think of the liberty bell there.
| | 03:44 | So anyway the bell shaped curve just is one half, just that
one edge of the bell like this and the idea is this the slope
| | 03:54 | of the curve starts, the slope of the blur that
is imagine that this blur right here is a slope.
| | 03:59 | So when we are seeing the dark color, we are at
the top of the slope, we are at the top of the bell
| | 04:03 | and when we are seeing the light color
we are at the bottom of the bell.
| | 04:07 | And so you start very slowly, the blur starts very slowly at
the top of the bell here and then it goes quickly down the side
| | 04:15 | of the bell at this point and then I accidentally click so that
was why that changed that in that area and then it goes slowly
| | 04:21 | at the end as well and that slowness
at the end is the key factor.
| | 04:26 | Notice what's happening inside of the dialog box here.
| | 04:29 | You can see the edge of this layer blurring into this
checker board and the checker board represents transparency.
| | 04:36 | So it's actually blurring the layer into nothingness and in
here we are seeing white in the background so it's blurring
| | 04:43 | into the whiteness and you can't really see the edge, can
you, that's because of this Gaussian bell shaped curve.
| | 04:50 | I will show you what it looks like if we didn't have that curve
in the next exercise but just take my word for it for now.
| | 04:56 | That Gaussian equation there is one of the things that makes
Photoshop so great because there is applications out there
| | 05:02 | that aren't capable of Gaussian equations and this means that
we have very soft drop offs on screen and print and so on,
| | 05:10 | so wonderful softness at the end of our blur.
| | 05:13 | Go ahead and click OK in order to accept that modification.
| | 05:17 | Now not only did we blur the contents of the
layer, we also blurred the transparency mask
| | 05:23 | that is to say we blurred the edges of the layer.
| | 05:25 | So if I went over here to Layers palette and I am going to go
all the way down and click on the background layer and I am going
| | 05:31 | to fill it with black, black is my foreground color
right now you can see that at the bottom of the toolbox.
| | 05:36 | So I am going to press Alt Backspace or Option
Delete to fill the background with black
| | 05:40 | so that you can see no matter what it's still
blurring very softly into the background.
| | 05:44 | No matter what I change the background to, this layer this
top left layer 1TL is always going to blur very softly into it
| | 05:51 | because the edges of the layer are actually blurred.
| | 05:55 | Isn't that amazing?
| | 05:55 | Alright I am going to undo that modification
now if you don't want to work that way.
| | 05:59 | I will go ahead and back up and undo the
application of the Gaussian Blur command
| | 06:04 | to this TL layer as well and that automatically selects it.
| | 06:08 | If you just want to blur the contents of the layer and
not the edges of the layer, you want to keep them nice
| | 06:12 | and crisp for whatever reason then you would go to this little
Lock icon in the top left corner of the Layers palette here,
| | 06:19 | this little checker board lock and click on it
so that first icon to the right of the word Lock.
| | 06:24 | Click on it, makes a little lock.
| | 06:26 | That locks the transparency so it can't be modified.
| | 06:29 | Now let's just repeat the application, the Gaussian
Blur filter by choosing it from the filter menu
| | 06:33 | and notice this time it just blurs the
contents of this layer and not the edges.
| | 06:38 | Alright it turns out I don't want to do that, I want
to go ahead and blur the edges too so I am going
| | 06:42 | to undo that modification and check this out.
| | 06:44 | There is a keyboard shortcut for accessing that transparency
function right there and it happens to be the slash key.
| | 06:51 | I just pressed the slash key, I didn't click on it.
| | 06:52 | I just pressed the slash key the one under the question
mark so slash turns it on, slash turns it back off.
| | 06:57 | In case you need another keyboard
shortcut smashed in your head there.
| | 07:01 | Alright so let's go ahead and reapply that Gaussian
Blur filter to the layer and we get a nice soft drop off
| | 07:06 | that is the amazing world of Gaussian Blur inside Photoshop.
| | 07:10 | In the next exercise you will see what a
world without Frederick Gauss would look like.
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| The Linear Box Blur| 00:00 | Okay. So in this chapter we are going to see what
a world without the Gaussian Blur function would
| | 00:05 | like if we had some other less sophisticated
kind of blur available to us.
| | 00:10 | Spooky, another spooky chapter.
| | 00:12 | Actually it's interesting when I was first working on my
Photoshop One-On-One Book the first version a few years back,
| | 00:18 | I wrote that a lot of people, this is true, a lot of
people pronounce the Gaussian Blur as Gassian Blur
| | 00:24 | which is totally wrong it's not Gassian Blur.
| | 00:26 | And I instructed my readers that if they heard
somebody say Gaussian Blur you should slap them.
| | 00:31 | My editor wouldn't let it fly.
| | 00:34 | He didn't think that was a crime worthy of slapping which to
me implied that he thought there were crimes that were worthy
| | 00:40 | of slapping this just didn't happen to be one of them.
| | 00:42 | I mean if this isn't worthy, if you can just
go around calling Gaussian Blur Gassian Blur
| | 00:48 | and not get slapped what kind of punishment is there.
| | 00:51 | So of course we changed it to if you heard
somebody say Gassian Blur, you should cane them.
| | 00:56 | We didn't do that.
| | 00:57 | I just caved, I just got rid of it.
| | 01:00 | Let's go ahead and slap this layer over here the top
right layer here and you will need to select it first.
| | 01:06 | Go to the Layers palette and click on 2TR right there in
order to make it active and now let's apply what's known
| | 01:13 | as a Linear Blur function where you don't
have that nice bell shaped transition there,
| | 01:18 | you just have a straight diagonal transition imagine that.
| | 01:23 | And to apply that kind of blur you go
up to the filter menu, you choose blur
| | 01:27 | and you choose this guy right here
box blur it's a linear blur function.
| | 01:31 | It's called box blur and you will see why in
a second, it has sort of a boxy appearance.
| | 01:36 | Let's ignore the fact that you can
raise and lower the radius value.
| | 01:38 | Let's just cut to the chase and enter a
radius value of 20 pixels and click OK.
| | 01:43 | And do you see what I am talking about?
| | 01:44 | You can see harsh edges in this blur.
| | 01:47 | There is an edge right there that's where the
blur starts and then it goes there and it's done.
| | 01:51 | So that's the diagonal linear blur going on here and
we have the same thing around this dark rectangle,
| | 01:58 | the blur starts right there at least that's what
it looks like, it blurs to this point right there
| | 02:01 | and it stops and it looks like it gets lighter.
| | 02:03 | And we have got this weird optical illusion
here and it is an optical illusion by the way,
| | 02:07 | there is no lightness at this location but it
looks like we all of a sudden have a little bit
| | 02:11 | of lightness there and a little bit of extra darkness there.
| | 02:14 | Totally our eyes making that up by the way but notice if we
employ the Gaussian bell shaped curve we don't have that problem.
| | 02:22 | Gaussian good, linear bad is one moral of this story.
| | 02:27 | The other moral is that if you need a linear
blur then you have it inside of Photoshop
| | 02:32 | and remarkably enough we didn't have a linear blur inside
a Photoshop until the last version until Photoshop CS2
| | 02:38 | and it can be on occasion you may find it useful I will
put it that way but I just want you to see that it's there
| | 02:43 | so you know how great if nothing else, how great Gaussian Blur is
| | 02:48 | and you will also know that if you
call it Gassian I will slap you.
| | 02:51 | I am not going to really slap you, I just had
to say that it just seemed like fun really.
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| Median and its badly named progeny| 00:00 | Alright, so great now I have got you thinking,
I am going to slap you the next time I see you
| | 00:04 | and I am not, I am not that kind of person at all.
| | 00:06 | It reminds me though of Golden Eye, did you ever
play that game, the game not the movie, the 007 game.
| | 00:11 | And if you ran out of weapons, you could run around and
slap each other and you could slap each other so much
| | 00:15 | that what if you died it was that much slapping.
| | 00:19 | They just fell down and died, which I thought was really cool.
| | 00:23 | Now you couldn't make your opponents say Gaussian.
| | 00:25 | If you could have done that I would have
won that game every single time, good times.
| | 00:29 | Alright so here we are inside the rectangles.psd
image, we are looking at the top pair of layers.
| | 00:35 | The Gaussian Blur image on the left
and the Box blur image on the right.
| | 00:40 | I am going to press the end key to go
down to the lower pair of rectangles.
| | 00:45 | Those layers, I have so far are not modified, I am going to
though in this exercise, so I will click on the Layers palette
| | 00:52 | and click on 3BL in order to select
this bottom left layer right here.
| | 00:56 | And the idea this time is we are going
to check out, we are going to move away
| | 00:59 | from the Blur submenu onto the Filters menu for just a moment.
| | 01:02 | We are going to move away from the Blur submenu onto the
Filters menu for just a moment here and we are going to check
| | 01:13 | out the Noise submenu instead and we are going to
take a look at a couple of key averaging functions,
| | 01:18 | features that average pixels instead of blurring them.
| | 01:21 | Go up to the Filter menu and choose Noise.
| | 01:23 | The idea is all of these commands are
supposed to either add noise or in the case
| | 01:27 | of the other four commands remove noise from an image.
| | 01:29 | A noise is random straight non-information bearing
pixels basically, so just random pixel variations.
| | 01:35 | Add Noise allows you to add random pixel variations if you want
to and you can check that filter out on your own if you want to.
| | 01:45 | Despeckle, just goes ahead and removes individual pixels
of Noise, completely isolated individual pixels of Noise.
| | 01:54 | I will go ahead and show you what it looks like just for larfs.
| | 01:58 | This is it, alright that's it.
| | 01:59 | That little tinny thing that it did, that's what it does.
| | 02:01 | It is these days I would go so far as to say completely outmoded,
| | 02:05 | a very ancient command that they should
drop from the software in my opinion.
| | 02:10 | It is just taking up space.
| | 02:12 | Anyway, I will go back up to the Filter menu,
and I am going to choose Noise once again.
| | 02:18 | We have got Dust and Scratches and
Median, I will come back to those too.
| | 02:24 | Those are the two that we are going to look at inside of
this exercise actually and then reduce Noise a big function,
| | 02:32 | big useful function actually and we are
going to use it later in this chapter.
| | 02:39 | We will use it in order to remove Noise from
a digital image, but we will take a look at it
| | 02:47 | in a creative context as opposed
to in an analytical context here.
| | 02:53 | Let's start off with the Median command, which you can see
is another key filter at least insofar as I am concerned
| | 03:01 | because I have given it a keyboard shortcut in my
D keys, which is Shift+F8 if you have loaded them.
| | 03:12 | Alright, go ahead and choose the Median command and
I am going to go ahead and center this of course
| | 03:17 | and then raise this radius value once again to 20
pixels, because 20 pixels is what we have been applying
| | 03:26 | so far both inside Gaussian Blur and inside Box Blur.
| | 03:30 | And notice this time instead of blurring the pixels,
Photoshop goes through and averages them and it's scrubbing
| | 03:37 | through the image actually in these
big 20 pixel diameter brushstrokes.
| | 03:43 | So you can think of it as working that way anyway and that
means that it completely gets rid of the low level noise,
| | 03:51 | this low level texture at least at
this high radius setting it does.
| | 03:54 | And then when it comes to a big edge, it goes ahead and rounds
off the corners, notice that, so it rounds off the corners here
| | 04:04 | and it rounds off the corners here and
those are some pretty jagged transitions.
| | 04:08 | If I Ctrl+Click inside the image or Command-Click in Mac, you
can see that we have a jagged transition with a little bit
| | 04:15 | of extra softness on the outside and
just a tiny bit on the inside as well.
| | 04:20 | Alright, I am going to Alt+Click or Option-Click in the Mac
in order to zoom back out and I am going to apply that filter,
| | 04:29 | that's all I am going to do, so we just
have this one radius value inside Median
| | 04:35 | and that's it, go ahead and click OK to apply it.
| | 04:39 | Now let's go to this next door layer by going to
the Layers palette clicking on 4BR, 4 Bottom Right.
| | 04:47 | Press F7 again to hide that palette from view at least
on my screen because I don't have that much room to work.
| | 04:54 | Then I am going up to the Filter menu.
| | 04:55 | I am choosing Noise and I am choosing Dust and Scratches.
| | 04:58 | Now the important thing to know about
Dust and Scratches is it's based
| | 05:03 | on the Median filter, the Median
filter is really like its father.
| | 05:07 | Dust and Scratches just goes ahead and adds one
more option a Threshold function as we will see,
| | 05:11 | that's the only difference between it and Median.
| | 05:12 | It has an extremely misleading name.
| | 05:13 | Dust and Scratches has nothing to do with this filter.
| | 05:14 | It removes neither dust nor scratches.
| | 05:15 | That's how far off this naming is.
| | 05:16 | In fact, I would go so far as to say it leaves behind
only dust and scratches because it averages the big stuff
| | 05:19 | and leaves the little stuff like
these little tiny textures behind.
| | 05:21 | I will show you what I am talking about.
| | 05:22 | Go ahead and choose Dust and Scratches and notice that we
have got a radius value right here and a threshold value.
| | 05:25 | The radius value I will set it to 20, so you can see the radius
value behaves just like the one inside the Median dialog box.
| | 05:28 | When I have the Threshold set to 0, this command
Dust and Scratches behaves identically to Median,
| | 05:31 | so these two images right here are
pixel for pixel identical to each other.
| | 05:33 | Alright, I will bring this backup on screen.
| | 05:34 | Now as we raise the Threshold value, remember the threshold value
| | 05:36 | from the Unsharp Mask dialog box, it
rules out very small pixel transitions.
| | 05:38 | So if in this case if two neighboring pixels are less
| | 05:39 | than 10 luminosity levels different
from each other they don't get averaged.
| | 05:41 | Only neighboring pixels that are at least 10 luminance
levels different from each other are going to get blurred,
| | 05:44 | alright so it's leaving the little stuff
behind and it blurring the big stuff,
| | 05:46 | sounds like Dust and Scratches alright, no it doesn't.
| | 05:47 | Anyway I am going to go ahead and
raise this to let's say about 15,
| | 05:49 | so you can see that I have got some nice texturing left
behind but I have rounded off the corners and I have not,
| | 05:52 | as it turns out rounded off the big corners because
they just aren't different enough to qualify.
| | 05:55 | So I will click OK in order to accept that
modification, so we have got Median here on the left,
| | 05:57 | Dust and Scratches on the right, just in case you are curious.
| | 05:59 | This is how they compare the blurring, so this is blurring
Gaussian Blur versus Box Blur and this is averaging Median
| | 06:02 | versus Dust and Scratches here inside Photoshop.
| | Collapse this transcript |
| Surface Blur and the rest| 00:00 | Now I should mention in case, I am not
conveying my message properly here.
| | 00:05 | I like the Dust & Scratches filter, I think
it's great, in fact I am going to go so far
| | 00:09 | as to show you a really wonderful practical
application of the filter in an upcoming exercise.
| | 00:15 | I just think it has a bad name, that's all, alright
so Dust & Scratches misleading name, end of story.
| | 00:20 | They should call it Median with Threshold, sure
tons of people would call it and say what happened
| | 00:25 | to my beloved Dust & Scratches filter that I use so often
to remove dust and scratches, that is the price of progress.
| | 00:32 | Alright, I am going to go ahead and press Ctrl+Alt+C, Ctrl+Alt+C,
a couple of times here, Command-Option-C, Command-Option-C
| | 00:38 | and the reason is I am undoing the application
of Dust & Scratches and the Median filter,
| | 00:44 | so that my bottom two rectangles are returned to their original
states, so that I can apply some other Blur functions to them.
| | 00:52 | We are going to go back to the Blur
submenu now and check out some
| | 00:55 | of the secondary blur functions,
I would go so far as to call them.
| | 00:59 | Now notice up here in the tittle bar you can see
that the two TR layer is selected in parenthesis,
| | 01:05 | you see the name of the active layer and then the Color
mode and the bit depth for the image as it turns out.
| | 01:11 | So when you undo an operation that's going to apply to a
layer, Photoshop goes ahead and takes you back to the layer
| | 01:17 | that was selected before the application
of the filter in this case.
| | 01:21 | So I have to go back to Layers palette and click on 3BL to
make it active once again and you should do that as well.
| | 01:27 | And there are other ways to select layers by
the way, but I am just trying to keep it clean.
| | 01:31 | Once we get into our layering chapters, I will show you
a bunch of quick ways to switch between named layers,
| | 01:36 | anyway I have got this bottom left layers selected
here and I am going to go back up to the Filter menu,
| | 01:42 | choose Blur and very quickly, and let me show you the filters
that I am not going to be discussing in an analytical fashion,
| | 01:48 | the Average filter, which just averages all colors on
a given layer, I will show you that one later actually,
| | 01:53 | it can't be useful, but it's kind of a brain-dead function.
| | 01:56 | And then there is Blur which just applies tiny bit of blur,
| | 02:00 | notice these guys don't have "..."after
them, so they are single-shot blur functions.
| | 02:05 | Blur More, which just blurs a little
bit more, not useful commands.
| | 02:08 | We saw Box and Gaussian Blur here, Lens Blur, a big function
that allows you to blur a background so create a real focal blur
| | 02:17 | and if you want to check out that function because
there is a lot of stuff associated with Lens Blur,
| | 02:22 | if you want to see that function in operation, we did
see it a little bit in operation back in Chapter 10
| | 02:27 | when we were discussing Masking, but if you want to see a
really great application, check out my Photoshop Channels
| | 02:33 | and Mask series, there is just so much going
on in that series, I don't want to repeat it.
| | 02:36 | And then you can check out Chapter
8 which is called Specialty Mask.
| | 02:40 | And there is a couple of Depth-Mask discussions,
a couple of exercises on creating Depth-Mask
| | 02:45 | and one of them is called Fashioning a Depth-Mask
and the other is called Blurring the Background.
| | 02:49 | Those two exercises, check them out, you can
learn all about Lens Blur if you want to.
| | 02:53 | We will be seeing Motion Blur and Radial Blur in just a moment.
| | 02:56 | Shape Blur blurs in predefined shapes, it's just a
nutty function, never figured out an application for it.
| | 03:01 | If you find one, ride in, won't you.
| | 03:03 | Smart Blur absolutely not a smart function, unlike Smart
Sharpen which is just an awesome feature inside the program.
| | 03:10 | Smart Blur is absolutely the opposite, it is
completely counterintuitive, it is designed by monkeys,
| | 03:16 | I swear to it and what it does is much better
accomplished by the Surface Blur function.
| | 03:22 | And if anything is not, it's another "S" word, it's not
smart though, it's another "S" word that I have been trained
| | 03:27 | by my little children, we don't say in this
house "daddy" alright so another "S" word.
| | 03:30 | You know what I am talking about right, that's
right, stupid, oops I said it, stupid blur though.
| | 03:36 | Alright anyway, I am going down to Surface Blur.
| | 03:38 | Let's start with Surface Blur, this is really useful one.
| | 03:40 | See I just went through the list, right okay.
| | 03:42 | So here is Surface Blur, I am going to
choose it so that we can see how it works.
| | 03:46 | And the idea is that it's design to blur the surface
detail in an image without harming the big transition,
| | 03:53 | so it's sort of the opposite of what we
were seeing with Dust & Scratches except
| | 03:57 | that it's a Blur function instead of an Averaging function.
| | 03:59 | A Dust & Scratches averages the big
stuff and leaves the little stuff behind.
| | 04:02 | Surface Blur, blurs away the little
stuff and leaves the big stuff behind.
| | 04:06 | Now I am going to go ahead and take the radius
value up to 20 because that is our value
| | 04:11 | that we have been applying over and over here.
| | 04:13 | And I am going to take the Threshold option,
this is an upside-down threshold by the way.
| | 04:17 | I am going to take the Threshold option up to 255 levels.
| | 04:20 | And that saying that's when you are blurring everything
inside the image because you are saying any 2 pixels as long
| | 04:26 | as they are 255 luminance levels, different or less,
alright, that or less is what's coming in the play here.
| | 04:33 | Then they will get blurred, so everything gets blurred
at 255 and you can see what the blur looks like,
| | 04:38 | it's a little weird sort of linear
blur variation as it turns out.
| | 04:42 | Looks kind of like the Box blur with little
bit of stuff left behind in the background.
| | 04:46 | As you take this value lower you are going
to begin to rule out the big details.
| | 04:51 | So if I take it down for example, let's just
take it down to 60 and see what it does here.
| | 04:56 | Notice that it's saying in this case if two
neighboring pixels are 60 luminance levels different
| | 05:01 | or more then they don't get blurred, if they are 60
luminance levels different or less then they do get blurred.
| | 05:08 | Alright, so let's end this, I am just going to end this with a
Threshold value of a 100 luminance levels and then I am going
| | 05:14 | to click on the OK button in order to accept that modification.
| | 05:18 | This is another one of those functions and I am going
to show you in the context of a practical application,
| | 05:24 | the creative practical application in a later exercise.
| | 05:27 | In the next exercise, we are going to see our Motion Blur filters
beginning with Motion Blur and then we will see Radial Blur.
| | Collapse this transcript |
| The Motion Blur filter| 00:00 | Alright we have just two more analytical exercises
looking at the Blur functions here inside Photoshop
| | 00:07 | and both of these exercises are going to be covering Blur
Filters that convey a sense of movement inside of an image.
| | 00:15 | First we will look at the Motion Blur Filter inside this exercise
and in the next exercise we will look at the Radial Blur Filter
| | 00:21 | which allows you to spin and zoom an image as we will see.
| | 00:25 | Alright so go to Layers palette and make sure that 4BR is
selected and this should be an unmodified rectangle so far.
| | 00:32 | This is the lower right layer inside the document.
| | 00:34 | And then I am going to go up to the
Filter Menu I am going to choose Blur
| | 00:38 | and I am going to choose this guy right here Motion Blur.
| | 00:40 | You may recall the Motion Blur setting that was available
| | 00:43 | to us inside the smart sharpen dialog
box based on the exact same technology.
| | 00:47 | So it turns out pretty simply filter.
| | 00:49 | I am going to go ahead and take the angle value up to a
much higher value than we have been using in the past.
| | 00:54 | I am going to take it to a 100 and right now it's
scrubbing back and forth at an angle of 0 degrees.
| | 01:00 | You can change that if you want to by changing this
angle setting either by dragging this little line here
| | 01:06 | or by modifying the value itself in anyway that you see fit
| | 01:09 | and you can see how it not only blurs the
image but it also blurs the transparency mask.
| | 01:15 | So that we are changing the boundaries of the layer
and if we didn't want to do that we could turn
| | 01:19 | on that lock transparency function inside the Layers palette
as I showed you way back in the first exercise of this chapter.
| | 01:26 | Alright so that's all that the Motion Blur function is about.
| | 01:30 | Now notice I am going to go ahead and click on the OK button.
| | 01:32 | Notice that it's a bidirectional effect meaning that
you are blurring in both directions i.e. 45 degrees
| | 01:39 | and down here a negative of 135 degrees as
it turns out so in the opposite direction
| | 01:44 | as well from the center of the layer in this case.
| | 01:48 | And if you don't want a bidirectional effect
then you would have to mask the effect.
| | 01:52 | For example, if you wanted to make something look like you were
shooting in a single direction then you could use a layer mask
| | 01:57 | to convey that and I will actually show you how to do
exactly that in my photo again I know my Photoshop channels
| | 02:03 | and mask series you can checkout Chapter7 which is called layer
specific masks and a very first exercise that's called a jet
| | 02:12 | of motion blur, shows you how to basically assign
a unidirectional effect to a jet as it turns out.
| | 02:17 | And it may sound like I am hyping this series, I am not.
| | 02:19 | It's available.
| | 02:20 | If you are a subscriber to Lynda.com it's free.
| | 02:23 | You can just go there and check it out anytime you want.
| | 02:25 | So anyway, there it is the Motion Blur Filter
assigned to this lower right image and over here
| | 02:32 | in the lower left corner we have got the Surface Blur Filter
applied from the previous exercise and just for the sake
| | 02:38 | of comparison I am going to press the Home key that's
going to take us up to our original blur filters,
| | 02:43 | the results of our original blur filters at least.
| | 02:45 | Here's Gaussian Blur on left and here's Box
Blur the Linear Box Blur function on the right,
| | 02:50 | compare those if you will to Surface Blur and Motion Blur.
| | 02:55 | Alright in the next exercise we will finish off the
analytical discussion with a look at Radial Blur.
| | Collapse this transcript |
| The Radial Blur variations: Spin and Zoom| 00:00 | Let's now end our blow by blow look at the blur
and averaging functions here inside Photoshop
| | 00:06 | with an examination of the radial blur filter.
| | 00:10 | It's actually a really great function as it turns out.
| | 00:13 | It's an old one and it yearly needs to be updated.
| | 00:16 | I wish it to be updated because there is so
much you could do with it that would be so cool
| | 00:20 | but it's still good it's still great actually I should say.
| | 00:23 | They have the little bit of a pain in the neck so I will
show it to you Ctrl+Alt+C, Ctrl+Alt+C or Command+Option+C,
| | 00:29 | Command+Option+C a couple of times in order to undo the
motion blur effect and then undo the surface blur effect.
| | 00:35 | I am going to click on the Layers palette
and make sure that the 3 BL layer is active
| | 00:40 | which it wasn't so that was a good thing I checked.
| | 00:42 | And I am going to go ahead and apply two different
variations of the radial blur filter to these two side
| | 00:48 | by side rectangles here these two side by side layers.
| | 00:52 | One is spin and one is zoom as it turns out.
| | 00:56 | It's almost like they are two totally different filters.
| | 00:58 | So go up to the Filter menu choose Blur and then I want
you to choose Radial Blur right there and it brings
| | 01:05 | up this dialog box so it's a little frustrating.
| | 01:07 | In that there is no preview outside the dialog box there is
no preview inside the dialog box all you have is this Blur
| | 01:13 | Center function.
| | 01:15 | I am going to go ahead and stick with the Spin function,
| | 01:17 | which spin things around the center
point and I am going to take this value.
| | 01:21 | Notice this I am pressing Shift up arrow and it doesn't work.
| | 01:24 | You actually have to manually adjust this option here.
| | 01:27 | That's how old this filter is.
| | 01:30 | You could also enter a value if you want to but it really hasn't
be touched since the Photoshop equivalent of the Stone Age.
| | 01:36 | There are a lot of things got updated in starting
about Photoshop 3 with previews and with up
| | 01:41 | and down arrow control and all this other stuff.
| | 01:43 | And Radial Blur dismissed the boat there, but very
powerful function as I say so blur method will leave set
| | 01:49 | to spin you can see what it's going to do and quality
you can set between draft which will be pretty noisy,
| | 01:55 | good which has a little bit of noise and then best
which has the least amount of noise associated with it.
| | 02:00 | They are all a little bit noisy.
| | 02:02 | Though as it turns out best is awfully slow,
also so I would typically stick with good.
| | 02:08 | I mean on modern machines draft isn't all that much
faster than good so I might as well just stick with good
| | 02:13 | and of course they are going to slow down when
you are working on larger and larger images.
| | 02:17 | Alright notice that you can you can drag
this blur center around if you want to.
| | 02:23 | I am going to leave it set pretty much where
it was because I don't want to damage the fact
| | 02:27 | that it was nice and centered even though I already have.
| | 02:30 | There is no way to snap it right back to the middle there.
| | 02:33 | I wish it was.
| | 02:34 | Anyway I am going to move that to the center and you will see
that it's not working from the center of the layer it's going
| | 02:39 | to be working from the center of the entire image so I
will click OK and you will notice of course that it spins
| | 02:45 | with respect as I said from the center of the image.
| | 02:49 | So we get this Radial Blur going around like this.
| | 02:52 | That's okay I guess it's kind of interesting
but it's not what I am looking for.
| | 02:56 | What if you want to spin the layer around its own center
point, well you could monkey around with that center control
| | 03:02 | which is a real hit or miss proposition I mean you are
just going to hunting and packing for a while to figure
| | 03:07 | out where exactly you should put that center
point because you have no context for it.
| | 03:12 | You are working inside of, I will go ahead and show you again.
| | 03:15 | We are working inside of a square that's kind of a
problem and our image is rectangular and we have no idea
| | 03:20 | where everything fits in respect to this
square we don't know if it stretches out.
| | 03:24 | I don't know what's going on with this.
| | 03:26 | So anyway go ahead and cancel out of that.
| | 03:28 | I will show you the better way to work.
| | 03:30 | I will undo the application of Radial
Blur on this bottom left image.
| | 03:35 | I will go over to the Layers palette.
| | 03:37 | I am going to have to click on 3BL to make it active again
because undoing the operation send me back to 2TR top right here
| | 03:44 | and now I am going to load the selection outline that's
associated with this layer by Control or Command clicking
| | 03:51 | on the thumbnails, so just go ahead and Control or Command
click, control click on a PC command click on a Mac
| | 03:57 | on this layer thumbnail right there and now go back to
the Filter menu and just choose Radial Blur you don't have
| | 04:04 | to do anything else just choose the command or
you can press Ctrl+F and notice that it goes ahead
| | 04:07 | and blurs inside centered inside the selection outline.
| | 04:12 | Alright now it doesn't violate the edges of the selection outline
which it would if we deselected the image and took the time
| | 04:19 | to figure out exactly where the center point needs to be.
| | 04:21 | But you can do that on your own time if
you are interested in figuring that up
| | 04:24 | because it's really as I said I have nothing to give you there.
| | 04:28 | It's just you know it's just hunt and pack so I am going to
go ahead and press Ctrl+D or Command+D in order to deselect
| | 04:34 | that layer then I am going to go back to the Layers palette
click on 4BR and then control click on it or command click
| | 04:41 | on the 4BR thumbnail in order to load its selection outline.
| | 04:45 | Now I am going to go ahead and press F7 to hide that palette
and then I am going to press Ctrl+Alt+F or Command+Option+F
| | 04:52 | on the Mac in order to reload the Radial Blur dialog box.
| | 04:55 | I am going to click on Zoom in order to zoom
the image outward from the center point.
| | 05:00 | Instead of spinning it we are going to zoom it toward the viewer.
| | 05:03 | Now a value of 30 resulted in a relatively large spin blur here.
| | 05:08 | But it results in a pretty small zoom blur as it turns out so
let's just go ahead and maximize this value take it all the way
| | 05:13 | up to a 100 and then click OK in order
to zoom the image and there you have it.
| | 05:19 | Once again it went ahead and centered inside this selection
outline and although there is not really any reason
| | 05:24 | to do it let's just go ahead and compare this
to the Gaussian Blur and Box Blur functions.
| | 05:29 | Here is Gaussian Blur and Box Blur
right there at the top of this image
| | 05:32 | and then if I press the End key here is this Spin Radial
Blur variation and here is this Zoom Radial Blur variation.
| | 05:41 | Alright, enough analysis already.
| | 05:43 | Let's see some creative applications starting in the next
exercise which is a little thing I like to call the Captain Kirk
| | 05:50 | in Love effect and it turns out to be a really practical effect.
| | Collapse this transcript |
| The Captain Kirk-in-love effect| 00:00 | Now, our first creative, and it turns out, highly
practical application of a Blur filter, in this case,
| | 00:07 | it's going to be Gaussian Blur, is a little thing that I
| | 00:09 | like to call the Captain Kirk-in-love
effect, and here is the setup, alright.
| | 00:14 | You may recall from if you have ever seen the
original Star Trek TV series, most of us have I think,
| | 00:19 | when a woman of a certain means would
come on board the Starship Enterprise
| | 00:24 | and the Captain got a bead on her for the first time, right.
| | 00:28 | We would see the Captain's face and you could tell he
was lit up a little bit, he was starting to feel amorous,
| | 00:34 | and there would be a little bit of a musical interlude.
| | 00:36 | And then we would shift back to the woman who we had just
watched enter the scene a moment ago and now, she is in close-up
| | 00:44 | and in a totally different lighting scenario.
| | 00:46 | She is lit in shadow with this sort of
diagonal beam of light across her eyes.
| | 00:51 | I swear they always did that, every single time.
| | 00:54 | The Captain fell in love.
| | 00:56 | They would have a diagonal bead of light across
the woman's eyes, it's true, look at the shows.
| | 01:00 | We are not going for that effect, that's
not I want to go and try to pull off here.
| | 01:03 | There was a second part to it and this
is the Captain Kirk-in-love effect.
| | 01:07 | There would be a little bit of a Vaseline lens effect.
| | 01:09 | So there is a blur basically aminating
from the woman, a little bit of a blur,
| | 01:15 | sort of softness on her face, a little bit of radiance.
| | 01:18 | And I think the idea was we were supposed to recognize the
Captain's affections at that point and sort of identify with them
| | 01:25 | to the extent that we would think oh, yeah, the games would flit.
| | 01:29 | So, that's what we are going to do
with this gentleman right here.
| | 01:32 | He is horacioqmarketforce.jpeg and he is
available to you inside the 12-blur average folder.
| | 01:39 | And he seems like an unlikely object of the Captain's affections
but once we are done with them, he is going to look red.
| | 01:46 | And I am sort of setting this up as a big joke.
| | 01:49 | It's really a great effect.
| | 01:50 | It really is an awesome effect what we are about to pull off.
| | 01:53 | And it's the kind of effect that gets used on a regular basis
by portrait photographers and wedding photographers and so on,
| | 01:59 | and it's really easy and it's really effective.
| | 02:03 | So here is what I want you to do.
| | 02:04 | By the way, this image comes to us
from photographer Duncan Walker.
| | 02:08 | Make sure that you can see the Layers palette on screen
here, and I am going to make this Navigator palette smaller.
| | 02:13 | And I want to go ahead and copy this
layer, I want to create a duplicate of it.
| | 02:16 | So I am going to press Ctrl+J or Command+J
on the Mac, to jump it to a new layer.
| | 02:21 | And let's go ahead and call this the Gblur
layer right here for a Gaussian Blur of course.
| | 02:27 | Now, the fist thing I am going to do is I am going to
change the Blend mode that's assigned to this layer
| | 02:32 | from normal to overlay, so an important first stamp.
| | 02:35 | And it's going to seem like we are already
going sort of over the top with this image.
| | 02:40 | It's going to become slightly radioactive at this point.
| | 02:44 | We are going to see some very, very vivid colors now.
| | 02:47 | And we are getting some very bright
details and some very dark details too.
| | 02:51 | If you turn this layer off for a moment and then turn it back on,
| | 02:54 | notice how this area around his hair
starts disappearing into the blackness.
| | 02:59 | So this is without the layer, this is with the layer.
| | 03:03 | So the hair is starting to recede into the blackness and a
lot of the other details are as well, his jacket and so on.
| | 03:08 | And by the way, I am going to go ahead and press the F key a
couple of times in order to fill the screen with this image
| | 03:14 | so that we can see a little bit more of it,
so we can see how this jacket is going away.
| | 03:18 | We are going to take care of that in a moment, but
it's just nice to set things up with the Overlay mode
| | 03:22 | in the first place because we are going to need that mode.
| | 03:24 | And now, we can gauge the effect of the
Gaussian Blur filter a little more accurately.
| | 03:30 | So go up to the Filter menu, choose the Blur
command and choose Gaussian Blur, and for you,
| | 03:36 | who knows what the radius value is
going to come up as it may be 20
| | 03:39 | if you are using Gaussian Blur with
me at the outset of these exercises.
| | 03:44 | But you can see how I have got it set now to a
radius of 10 which works pretty well for this guy.
| | 03:48 | Now, it's tempting to go too far with the radius value and
do like this big ultra blur as long as we are blurring on top
| | 03:55 | of the original image, because we are
not harming the original at this point.
| | 04:00 | We are just blurring the Gblur layer and since we have it set to
the Overlay mode, we can get away with a fair degree of murder,
| | 04:07 | really we can do a lot of damage to this layer and
still be able to see through to the underlying original.
| | 04:13 | But I am going to advise you that less
is more where this effect is concerned.
| | 04:17 | You are better off with relatively low radius
values just to create a little bit of highlight.
| | 04:23 | You don't want to completely smear
away the details in the person's face,
| | 04:26 | you just want to get a little bit of
a soft bounce off of their features.
| | 04:31 | So I have got it set to 5 here.
| | 04:32 | I am going to go ahead and take it back to 10.
| | 04:35 | And I think we can all agree that this is a pretty
good setting at this point now, it's a little too hot.
| | 04:39 | And by that, I mean it's oversaturated.
| | 04:42 | We still have this sort of nuclear appearance to this image.
| | 04:46 | So anyway, go ahead and apply radius of 10 and then click OK.
| | 04:50 | Now, the next thing I want you to do is we
need to back off the shadows and the highlight.
| | 04:56 | So, what Overlay does is it goes ahead and
burns in the shadows and dodges the highlights.
| | 05:02 | So in other words, it uses the highlights to light
everything underneath this layer and it uses the shadows
| | 05:07 | to darken everything underneath this layer and
then, let some of the midtones shine through.
| | 05:13 | So as a result, we get a very heightened-contrast
effect and a heightened-saturation effect as well.
| | 05:18 | But if we rain in those highlights and shadows, we can tamper the
effect, and I am going to do that by pressing Ctrl+L or Command+L
| | 05:25 | on the Mac to bring up the Levels command here
and I am going to change the output levels.
| | 05:30 | Go ahead and click in that first option levels
field there, the one for the black point.
| | 05:34 | And I want you to press Shift+Up arrow five
times in a row to change that value to 50.
| | 05:39 | And now, I am going to tab to the second
value, the one that controls the white point,
| | 05:43 | and I am going to press Shift+Down arrow five times
in a row so that we are changing both values by 50.
| | 05:50 | And that makes this value 205.
| | 05:52 | So we are saying whatever used to be black, raise
it up to a luminance level of 50 and whenever used
| | 05:57 | to be white, lower it to a luminance level of 205.
| | 06:01 | So we are reducing the contrast of the layer
and you can see this in the layer of thumbnail,
| | 06:06 | the contrast has been reduced dramatically inside this image.
| | 06:09 | And I will go ahead and click OK in order to
accept the results, and that's all there is to it.
| | 06:14 | And just to give you a sense of what we
have done, here is the before version
| | 06:17 | of the image, here is the after version of the image.
| | 06:19 | Not only does he have a nice healthy glow coming
off him, but all of his details look great.
| | 06:26 | The information that needs to stay
sharp remains sharp inside this image.
| | 06:30 | The only thing that this Gblur layer is blurring
is the sort of the skin stuff that's going on here,
| | 06:37 | and that could use a little bit of
blurring now that we see how it works.
| | 06:40 | So this I think looks stunning in
fact and it's so simple to pull off.
| | 06:45 | And wouldn't Captain Kirk be proud?
| | 06:47 | I think he would.
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| Averaging skin tones| 00:00 | Here's another astoundingly simple technique as it turns out.
| | 00:04 | This one is all about averaging skin tones.
| | 00:08 | So basically modulating the skin
tone, so there is more uniformity,
| | 00:12 | so that you have less blotching especially
in the color department.
| | 00:16 | I am looking at an image called dudesonblue.jpg
and it comes to us photographer Mark Aplet.
| | 00:23 | And these guys look at little windburn from a day of skiing, I
believe and this guy might have some sort of rash on this face,
| | 00:30 | I am not really sure what's going on there, doesn't matter, some
handsome youngsters let's go ahead and fix up their skin tones
| | 00:36 | so that there is no windblown look to them at all.
| | 00:39 | And we are going to do that using
the Average function as it turns out.
| | 00:44 | So for starters, we need to select their flesh tones.
| | 00:49 | Basically, select just their faces and nothing else.
| | 00:52 | And we are going to do that by going out to the
Select menu and choosing the Color Range command.
| | 00:57 | Now I want this to be a pretty discrete selection.
| | 00:59 | So I am going to leave the Fuzziness value turned down to 40 and
if you don't have it there already, go ahead and reduce the value
| | 01:05 | to 40 and then click somewhere in one of these little red
patches and one of these guys here and then start Shift dragging
| | 01:14 | around the faces and I am just kind of going
to drag around the left-hand guy's face here.
| | 01:20 | And then once you select a fair amount of the face,
| | 01:23 | you should see a couple little ghost faces
here inside the in-dialog box preview.
| | 01:28 | I am going to go ahead and change the selection
Preview to Grayscale so that I can gauge whether
| | 01:36 | or not I have selected enough of these
faces and I haven't at this point.
| | 01:39 | So now I am going to Shift drag through
some of these gray areas like so.
| | 01:43 | And what you want to watch out for is
selecting too much of the jacket and so forth.
| | 01:48 | When I drag over this area above this guy's lip, I do end
up selecting some of his hair, some of his friend's hair
| | 01:55 | and some tiny little strands of jacket detail
toward the bottom of the image, that's okay.
| | 02:01 | But you don't want to select anymore than
about what you are seeing on-screen right now.
| | 02:05 | For example, if I clicked on his tooth, I am going to select way
too much stuff, so I don't want that, I will go ahead and undo,
| | 02:12 | might just Shift click there, few more Shift clicks
just to see if there is anything else I need to grab.
| | 02:17 | And about this point, I think things look good.
| | 02:19 | And I am going to click Ok in order to exempt that new selection.
| | 02:24 | Now I want you to press Ctrl+J in order to jump just
the selected portion of the image to a new layer.
| | 02:32 | And you might want to go ahead and turn off the background
layer, so you can see what you have accomplished here.
| | 02:37 | We have selected this area, balance it to a new layer and that's
what we have got, so there are faces without their eyeballs
| | 02:44 | or any shading, their faces are hovering on an independent layer.
| | 02:48 | And let's go ahead and call this one Average
and then I will press the Return or Enter key.
| | 02:54 | Now I am going to go up to the Filter menu
and I am going to choose Blur and I am going
| | 02:58 | to choose this very first command, I
was telling you about it earlier on.
| | 03:02 | What it does is it averages, it finds the average color
inside of a layer and fills the entire layer with that color.
| | 03:09 | Now you may get a weird effect when you choose this
command, sometimes it's behavior is a little odd.
| | 03:15 | In this case, it's filling the entire layer with blue, so
it's obviously looking at information beyond this one layer,
| | 03:22 | it looks like it's looking for information
inside the entire image at this point
| | 03:27 | because certainly their flesh tones don't average out to blue.
| | 03:29 | Let's go ahead and undo that modification.
| | 03:32 | Here's what I want you to do Ctrl+Click or Command-Click on layer
thumbnail like so, in order to select the contents of the layer
| | 03:40 | and then go to the Filter menu and choose the
Average command again in order to apply it
| | 03:45 | and this time you should get a rosy color
like what we are seeing here on screen.
| | 03:48 | Now press Ctrl+D or Command-D on the Mac in order to
deselect the image, turn the background image back on
| | 03:55 | and notice now we have got some pretty homogenous skin tones
now, but of course they are dark sort of clay red at this point.
| | 04:03 | So what I would like to do is merge the color from this layer,
from this average layer with the luminance levels from the layer
| | 04:11 | in the background, so that we can keep
the detail from these dudes' faces.
| | 04:15 | So I am going to change the Normal Blend mode
to Color because that will keep the color
| | 04:20 | and let us see the luminosity from below, so I will choose color.
| | 04:24 | Now that looks like overkill to me, their
faces are just bright red at this point
| | 04:29 | and I am suspecting that they are oversaturated.
| | 04:32 | So I can break color up into its components here saturation
in hue, I don't want to keep the saturation of this layer,
| | 04:39 | I don't want a uniform saturation, I want uniform hues
inside their flesh tones, so I am going to go ahead
| | 04:45 | and choose the Hue Blend mode and that's pretty good.
| | 04:48 | So just to give you a sense this is without the
Average layer and this is with the Average layer.
| | 04:53 | Now it's still too red, it's sort of a red
orange color now and I would like it to be more
| | 04:58 | of a skin orange, so a little more yellow than this.
| | 05:01 | So I am going to press Ctrl+U with the average layer highlighted
here in order to bring up the hue saturation dialog box
| | 05:08 | and then I am going to increase the hue value
incrementally and just keep an eye on the faces here
| | 05:14 | and will decide when they are starting to look good.
| | 05:16 | Actually I think I have just gone just
slightly too far, a hue value of plus 8 looks
| | 05:21 | like it's going to work out well for this image.
| | 05:23 | Now I am going to click Ok in order to accept that result.
| | 05:26 | Now that is I must say much better than it was before.
| | 05:30 | Here's before and here's after.
| | 05:33 | We have certainly done a great job of
getting rid of the pink inside the image,
| | 05:37 | but we still have a few little sort of blistery details going on.
| | 05:41 | This guy's nose has this really hard orange point
right there, possibly a pimple who knows what
| | 05:48 | and this guys rash is still showing through in certain
areas like on his chin and over here on this cheek.
| | 05:54 | We can address that as it turns out by doing a little
more work and we will do that work in the next exercise.
| | Collapse this transcript |
| Addressing the stubborn patches| 00:00 | Now often times the technique I showed you in the previous
exercises, all it takes to get rid of modeled skin tones.
| | 00:06 | All you have got to do is select the faces, jump them
to a new layer, if necessary load the Transparency mask
| | 00:12 | for the layer then apply the Average command,
the Average filter and then apply Hue Blend mode
| | 00:19 | and you are done and everything is taken care of.
| | 00:21 | But in this case, we have got a few more problems, because the
skin modelling is not only a function of random hue variations,
| | 00:30 | but it's also a function of some brightness and
saturation variations as well especially this little bump
| | 00:37 | on this guy's nose here is highly
saturated and dark as it turns out.
| | 00:42 | Let's go ahead and select the red patches inside
these fellows' faces and balance that to a new layer
| | 00:48 | and see if we can do something to
it that might benefit the image.
| | 00:52 | So go ahead and turn off the average layer if you are
working along with me and you created such a layer
| | 00:57 | in the previous exercise, I want you now to select
the background layer here inside the Layers pallet.
| | 01:03 | And we are going to once again go up to the
Select menu and choose the Color Range command.
| | 01:08 | This time I don't want to see this kind of
selection preview, so I am going to go ahead
| | 01:11 | and switch it back to None instead of seeing Grayscale there.
| | 01:15 | And I am going to click on this guy's chin and then I am going
to Shift drag across just this upper portion of his chin like so.
| | 01:22 | And then I am going to Shift click on this little pimple on
this guy's nose and that should pretty much take care of it.
| | 01:29 | If I am worried, I need to get a few other
details, I can Shift click here and there,
| | 01:33 | I don't want you to select too much information inside of
these faces, much better to select too little at this point.
| | 01:39 | Alright, so we have some very discrete
selections going on, go ahead and click OK,
| | 01:44 | by the way the Fuzziness value should remain set to 40,
then click OK in order to generate these selection outlines.
| | 01:51 | Now I want to refine the selections and I can do that by making
sure I have one of my selection tools active and then I can click
| | 01:58 | on the Refine Edge button or I can just go the Select
menu and choose the Refine Edge command that works too
| | 02:05 | and you will see the familiar Refine Selection Edge
dialog box, new to Photoshop CS3, we saw it in Chapter 8.
| | 02:11 | And these are default values, radius of one smooth
set to 3, Feather Value of 1.0 that's all fine by me,
| | 02:18 | actually might just leave those set as it is.
| | 02:20 | Then let's just go ahead and take the Contract/Expand value
up 50%, so it will expand the selection ever so slightly.
| | 02:29 | So this is what it look like originally,
this is what it looks like now.
| | 02:32 | So it covers a larger area and it has a smoother drop off.
| | 02:36 | Now click OK in order to accept that modified selection
outline, it will take a moment in order to do its math there.
| | 02:44 | Now notice that the background is selected at
this point, I want you to create a new layer,
| | 02:48 | go ahead and click on this little Document icon down here,
the Create a New Layer icon in order to generate a new layer
| | 02:55 | and let's call this one Patches, why don't we
and then press the Return key to accept that.
| | 03:00 | Now I haven't done anything with the selection
outline, this layer is completely empty at this point,
| | 03:06 | I want you to go down here to this tool right there, the
Eyedropper Tool, go ahead and click on it in order to select it.
| | 03:12 | And then I want you, I am going to go ahead and zoom in
on this guy a little bit, this guy in right and I am going
| | 03:18 | to load a color that's not selected, one of the good skin
tones right there, alright that's not too pink or not too Red,
| | 03:25 | go ahead and load that color by clicking on it, and what
that does when you click on a color with the Eyedropper,
| | 03:30 | it turns that color into the foreground
color, so you should see a light sort
| | 03:34 | of peachy patch down here at the bottom of the toolbox.
| | 03:38 | Then I want you to fill the selection with that color
by pressing Alt+Backspace or Option-Delete on the Mac.
| | 03:44 | Now that of course looks ridiculous at this point, that's
okay, go ahead and press Ctrl+D in order to deselect the image.
| | 03:51 | I am going to switch back to my marquee tool, I am going
to change the Blend mode assigned to this patches layer,
| | 03:57 | I am going to change the Blend mode to screen like so.
| | 04:01 | And that's going to use that patches color, that sort of light
peach color in order to lighten everything underneath it.
| | 04:09 | Again it doesn't look right, that's okay
it will look right in just a moment.
| | 04:13 | Now I want you to turn the Average Layer back on,
so that we can see the Average Layer in front here.
| | 04:18 | I want you to press the Esc key if you are
working on the PC, press the Esc key to make sure
| | 04:23 | that the Blend mode is no longer active inside the Layers pallet.
| | 04:26 | And then I want you to press the 2 key to reduce the
opacity of that layer to 20%, would you check that out.
| | 04:35 | Alright, so this is what the image looks like
without this new patches layer right there
| | 04:40 | and this is what it looks like with
this patches layer, much improved.
| | 04:45 | The transitions are not perfect and you could go in there and
sort of raise at the edges little bit to soften those edges,
| | 04:52 | but I doubt anyone coming to this image
for the first time especially once we zoom
| | 04:56 | out from it a little bit, is really going to notice that effect.
| | 04:59 | They are not really going to notice that you have applied
this screened layer over at the top of the original image.
| | 05:07 | And if you are worried, they are of course you can adjust
the image little bit you can paint into it a little bit
| | 05:11 | if you want too and you could reduce the opacity further,
I am going to press 1,5 to take that opacity level
| | 05:17 | down to 15% so it's a little more of a subtle effect.
| | 05:21 | Now just to give you a sense of what we were able to
accomplish here, I am going to Alt+Click on the eyeball in front
| | 05:26 | of the background layer, those of you working on
the Mac you would Option-Click on that eyeball.
| | 05:30 | And that way you are hiding everything but the
background layer and if I Alt or Option-Click
| | 05:35 | on the eyeball again, I will see all the layers working together.
| | 05:39 | So this is the original version of this
image, this is the new version of the image.
| | 05:44 | Thanks to some pretty simple little alterations we have gotten
rid of 90% of the modeling that's going on inside of the skin
| | 05:54 | and we have really come up with some
nice even skin tones as a result.
| | Collapse this transcript |
| Combining Gaussian Blur and Average| 00:00 | Now as I mentioned in the previous exercise, sometimes
that Average filter combined with the Hue Blend mode is all
| | 00:07 | that it takes in order to fix color
modeling inside of somebody's face.
| | 00:11 | And as it turns out when you combine Averaging Skin
Tones technique with the Captain Kirk-in love technique,
| | 00:17 | the one that involves the Gaussian
Blur, you can get just amazing results.
| | 00:22 | Two simple techniques combined together to create one
fantastic image and that's what we are going to see here.
| | 00:28 | So what we are looking at is the horacioqmarketforce
image with the Gaussian Blur layer on top of it.
| | 00:35 | So if you still have that image open with
Gaussian Blur set to the Overlay mode then great.
| | 00:40 | If not then, you can open my version,
it's called hurrayforhoracio.psd
| | 00:45 | and of course it's still that same Duncan Walker image here.
| | 00:49 | Alright, I am going to select the background layer and I
am going to turn off that GBlur Layer for a moment here,
| | 00:55 | just long enough so that we can select this fellow's face.
| | 00:58 | So I will go up to the Select menu and
I will choose the Color Range command.
| | 01:04 | And I am going to click inside this guy's face and then
Shift drag of course inside of his face and his forehead
| | 01:12 | and down along his chin and wherever
else I think I should Shift drag.
| | 01:15 | And I am going to raise the fuzziness value to 65 for this
specific image and that's of course you know something
| | 01:22 | that you are going to have to experiment with,
different settings works for different images.
| | 01:26 | This does select a little bit of his tie actually
and I am not sure that I want that much of his tie,
| | 01:32 | so I am going to start this selection over and
this looks actually a lot better this time around.
| | 01:37 | Alright so I will click OK in order to accept that new selection
and then I will press Ctrl+J, Command-J in the Mac in order
| | 01:46 | to jump this image, this selection to a new layer and
let's call it Average and then I will press the Enter key
| | 01:54 | or the Return key in the Mac to accept that name.
| | 01:57 | Now I am going to load the Selection Outline, the Transparency
Mask from that layer by Ctrl+Clicking on the Layer Thumbnail
| | 02:04 | or Command-Clicking on the Layer Thumbnail on the Mac.
| | 02:06 | I am going to go up to the Filter menu and if Average is the last
command you chose then you can just choose the Average command
| | 02:12 | or you can go down to the Blur menu and choose
Average in order to find that beautiful average color.
| | 02:19 | Now I press Ctrl+D, we no longer need this Selection
Outline, Command-D on the Mac and let's go ahead
| | 02:23 | and change the Blend Mode from Normal to Hue.
| | 02:27 | And we get this fairly sort of orange version of the image
but that's okay, I will go ahead and hit the Esc key in order
| | 02:33 | to deactivate the Blend Mode option
here inside the Layers palette.
| | 02:37 | And now I will turn on the GBlur Layer.
| | 02:39 | And notice what this Average layer has done, if I turn it off
and then I turn it back on, can you see what I am talking about.
| | 02:46 | Look at this little bit of Red modelling that's going on inside
of his face over here, above his lip, on the top of his chin,
| | 02:54 | on his ears and so on inside the image
around his eyes, around his nostrils.
| | 02:59 | When you turn the Average layer on, that all goes away,
we just get this nice smooth sort of orangish skin tone.
| | 03:06 | Now if you think that's too orange for whatever reasons then
once again with the Average Layer active, you would press Ctrl+U,
| | 03:12 | Command-U on the Mac, you would click inside the Hue
value there and you would rotate it upward a little bit.
| | 03:19 | So you would raise that value and I would say
something like 3 to 4 is going to work pretty well
| | 03:24 | for this image, you don't want to go too far with it.
| | 03:26 | By the way changing the saturation and lightness sliders is
not going to do anything because we are only seeing the Hue,
| | 03:33 | thanks to the Hue Blend Mode, so we are only seeing
the Hue that's associated with this layer right now.
| | 03:38 | So go ahead and click OK in order to accept that modification.
| | 03:42 | And just so we can see how far we have come with
horacioqmarketplace from the very beginning here,
| | 03:48 | I will Alt or Option-Click on the background layer, this is
what it looked like originally, this is what it looks like now,
| | 03:54 | thanks to a combination of that Average Skin Tone
technique along with the Captain Kirk-in love technique,
| | 04:01 | two very-very powerful functions for
producing flattering portrait shots.
| | Collapse this transcript |
| Blurring surface details| 00:00 | Okay. Another exercise in my ongoing mission to
share with you some quick and dirty blur techniques
| | 00:05 | that are moderately effective that gets you 60%, 70%,
80% the way, they are not all the way there necessarily
| | 00:11 | but they are good enough is the moral
of the story and they are very quick
| | 00:15 | and they are very fast you know just take a few minutes
even a few seconds so not a big time investment.
| | 00:20 | And in this case we are going to start things off in
this exercise by using the Smart Blur Filter in order
| | 00:28 | to downplay the freckles inside of this image and then in
the next exercise we are going to spend a little more time
| | 00:34 | and take another swing at this image
using the dust and scratches filter.
| | 00:37 | Now the name of the image is frecklesarefine.jpeg
it comes to us from photographer Renee Lee
| | 00:44 | and I call this image frecklesarefine for a very specific reason.
| | 00:47 | The freckles are a stand-in for let's say a
more serious skin problem because the thing
| | 00:52 | about the freckles I mean freckles are fine, it's very
unlikely that you are going to be trying to edit away freckles.
| | 00:58 | But they have that quality of sort of more serious skin issues
where they are densely packed and they are very difficult
| | 01:06 | to get rid of and they convey some very
important contour and volumetric information.
| | 01:13 | So you can't just sit there and get completely rid of
them, you have to focus on downplaying them instead.
| | 01:19 | So as I say freckles are fine, I have friends with freckles.
| | 01:23 | The whole thing I just want to you know deflate
any anger and resentment that I am going to get
| | 01:28 | from the International Consortium of Freckled
People or something along those lines.
| | 01:32 | Alright so anyway what are we going to do?
| | 01:35 | Well you could take a stab at this image with a few of
the other techniques I showed you so far and each one
| | 01:40 | of the techniques might or might
not work is what it comes down to.
| | 01:43 | And as you gain experience with the techniques you will
start to figure out which one you might want to use when
| | 01:49 | but at first you are just going to kind of try them out
in the order that I am suggesting them with any luck.
| | 01:53 | So you start with something like Gaussian blur.
| | 01:55 | You go up to the filter menu, you choose
Blur and then you choose Gaussian blur right.
| | 02:00 | I didn't bother making a new layer because I am going to show you
a simpler way when you are just trying to feel out the commands
| | 02:04 | and get a sense what's going to work, what's not going to work.
| | 02:06 | The radius of 10 just like that ratio
dude I showed you the businessman.
| | 02:12 | I go ahead and click OK in order to accept
that and now I will go up to the edit menu,
| | 02:16 | choose the Fade command it's got a keyboard shortcut Ctrl Shift
F, Command Shift F on the Mac in order to fade that operation
| | 02:22 | and I will change the mode from normal to overlay.
| | 02:25 | So just a different approach instead of working with layers
I am just applying this function directly to the image
| | 02:31 | and fading it just in the name of trying things out very quickly.
| | 02:34 | Alright so I apply the overlay effect and it looks pretty
good actually it's little over saturated in the whole number
| | 02:40 | but I think she is a more likely candidate
for the affections of Captain Kirk anyway,
| | 02:44 | she is so darn spunky among other
things very open wonderful face there.
| | 02:48 | Alright and then you could play with the
opacity mode if you want to what have you.
| | 02:51 | Alright I am going to cancel out though that
doesn't really get me where I want to be.
| | 02:55 | I don't want this high saturation effect and I want
to downplay the freckles a little more than this.
| | 03:01 | So I am going to cancel out press Ctrl Alt Z or Command Option Z
on the Mac in order to undo the Gaussian blur in the first place.
| | 03:07 | Now let's try the average command what the heck.
| | 03:08 | Let's go to the blur menu here, the blur submenu
under the filter menu and choose average.
| | 03:14 | And I didn't even bother with the selection this time just
because I am trying to get a sense will it work or not.
| | 03:19 | Now press Ctrl Shift F, Command Shift F on the
Mac that keyboard shortcut for the fade command
| | 03:24 | and I will change the blend mode this time from
normal to hue just like we have been doing in the past
| | 03:31 | and that's absolutely a hideous solution, it
doesn't work at all, it makes your skin all grey,
| | 03:36 | we would have to adjust the hue value here and it
doesn't get rid of the freckles even in the least.
| | 03:41 | So let's cancel out of that one Ctrl
Alt Z, Command Option Z on the Mac.
| | 03:46 | The better approach if we are staying quick
and dirty with this image is surface blur
| | 03:50 | as it turns out, it's designed for this kind of thing.
| | 03:52 | It's designed to blur away surface details.
| | 03:55 | We are going to take a little more deliberate approach
to this command working in the Layers palette here,
| | 04:00 | make sure that the background layer is active and then press
Ctrl J or Command J on the Mac to jump it to a new layer.
| | 04:06 | And I am going to go ahead and rename this layer Surface Blur
and then press the Return key or the Enter key here on the PC.
| | 04:13 | Now go up to the filter menu, choose Blur
once again and this time choose Surface Blur.
| | 04:18 | Now as I was telling you with Surface Blur it's
got an inverted threshold function right here.
| | 04:23 | So right now these are the last settings I applied is the
radius value of 20 pixels and we have got a threshold of a 100
| | 04:30 | and I am just going to kind of nudge this value down.
| | 04:33 | What you want to do is choose the smallest radius value that is
still going to manage to blur away those freckles right there.
| | 04:41 | And in the past I have had success with this specific image not
with all images just this specific one with the radius of 17.
| | 04:47 | So that's what I am going to go with here.
| | 04:49 | And now let's take the threshold value down until we can get some
of those details back so I am pressing Shift down arrow in order
| | 04:55 | to reduce it incrementally and then I am just sort of keeping
an eye on the screen to see how far I need to go down,
| | 05:00 | right about 30 things start popping into view so
let's just nudge it down without the Shift key.
| | 05:05 | Now I am just pressing the down arrow key till I get about
here, this looks pretty good; we have had the definition
| | 05:09 | around her mouth, the definition around
her teeth, her nose, her eyes, her hair,
| | 05:13 | her eyebrows but we have got a lot of
smearing going on inside the flesh.
| | 05:18 | Now you may look at this and think are you
looking at a different image than me Deke,
| | 05:21 | do you think this looks good, this looks terrible.
| | 05:22 | And of course yeah it looks terrible but we are going
| | 05:24 | to modify the blend mode/opacity right so
that we can merge these images together.
| | 05:30 | Alright so ahead and click OK in order to accept those
values radius 17, threshold 25 for this specific effect.
| | 05:37 | And then what I suggest you do assuming that one of your
selection tools is active up here in the toolbox just go ahead
| | 05:44 | and press the 5 key in order to reduce the opacity value to
50% and that's it and that's all there is to this effect.
| | 05:51 | Now you also might sort of look at this and
go there are still freckles, I see freckles,
| | 05:55 | I don't know about you once again
Deke but I do see some freckles.
| | 05:58 | Yes, as I say, it gets you 60%, 70%, 80% the way they
are whatever I am just making up those percentages
| | 06:03 | but you understand it doesn't get you all the way
there and we are not trying to completely get rid
| | 06:07 | of the freckles, we are just trying to downplay them.
| | 06:09 | And notice we have done a heck of a job.
| | 06:11 | If you turn Off this layer you can see how many freckles
she used to have and this is how many she has now.
| | 06:16 | Now if that still seems like too many freckles to you
or the freckles are having a little bit too much impact
| | 06:21 | on the image then go ahead and take that opacity value
up and I went ahead and press the 7 key for 70% opacity
| | 06:27 | and this helps smooth out the freckles that much more.
| | 06:29 | But if you go too high with the opacity value, you
get this thing right here, this is a 100% opacity,
| | 06:34 | we have got very bad transitions going on inside the images
| | 06:37 | and it's just not credible that's why
you need to take that opacity down.
| | 06:41 | So as I say 50% is what I recommend for this specific image.
| | 06:45 | I think it looks pretty great.
| | 06:46 | This is before this is after, I would say it gets us
I don't know 50% the way there let's just say that.
| | 06:52 | In the next exercise we are not going to settle
for 50% we are going to get 85% the way there
| | 06:58 | by bringing in the dust and scratches filter.
| | Collapse this transcript |
| Smoothing blemishes while matching noise| 00:00 | Okay so in the last exercise I showed you how to use the surface
blur filter a modestly capable filter at best as it turns out.
| | 00:08 | In order to smooth away skin imperfections not that freckles
are imperfections I think I have said enough in that vein
| | 00:15 | but this is just a stand in for a blemish X that you
might want to remove you know tightly packed blemish X
| | 00:22 | that you might want to remove in somebody's face.
| | 00:24 | Anyway surface blur does a pretty good job so forward on
an intense deadline and we are just trying to get this done
| | 00:29 | or we have got you know 15 images we need to smooth out then
this is okay this is without the surface blur layer and this is
| | 00:36 | with it, so it definitely downplays those freckles.
| | 00:38 | In this exercise we are going to say you know surface
blur, you are getting sort of 50% the way there
| | 00:43 | and doing you know half paid job that's not good enough.
| | 00:46 | Let's go ahead and try to do a better job by throwing
the dust and scratches filter into the mix as well.
| | 00:52 | So ahead and click on the background layer if you are
working along with me and turn off the surface blur layer
| | 00:57 | which I just did well I was yammering at you as it turns out.
| | 01:00 | And I am going to go ahead and jump this guy to an independent
layer as well by pressing Ctrl+J or Command+J on the Mac
| | 01:07 | and now I am going to double click on the
name of this layer and I am just going
| | 01:11 | to call it good old D and S because
I know what that means always.
| | 01:16 | It's only one filter in Photoshop that's DNS and that's
dust and scratches which as you may recall fixes neither.
| | 01:21 | Alright anyway with the DNS layer active let's go
up to the Filter Menu choose noise this time around,
| | 01:28 | choose dust and scratches even though it's no good for
removing dust and scratches inside of an image it's great
| | 01:33 | for averaging skin tones while living the digital noise that's
inherent inside the image intact and the idea being that we need
| | 01:42 | that digital noise because we are going to later paint in and
just a few seconds here we are going to paint in this effect
| | 01:49 | into the image and we need to make sure that our transitions
| | 01:52 | between the painted areas and the
unpainted areas is nice and smooth.
| | 01:56 | Alright so the values that I want you to enter I
will just go sort of cut to the chase with this one,
| | 02:00 | is a radius value of 25 so I am going to take that radius
value up just in an attempt to blur away more of these freckles
| | 02:06 | and I am going to leave the threshold value set to 15.
| | 02:08 | For you it might be something different so go ahead and enter
these values 25 and 15 so all neighboring pixels that vary
| | 02:16 | from each other by less than 15 luminous levels
they will stay, they will not get blurred.
| | 02:23 | Hence we retain the digital noise as
you can see if you inspect this image.
| | 02:27 | I will go ahead and zoom in on the image and you can see that
we do keep those random pixel variations inside the image
| | 02:33 | but we get rid of the big stuff so we can see this
little noise here but then the lips are very blurred.
| | 02:39 | Alright so go ahead and click OK in
order to except that modification.
| | 02:42 | Now like the surface blur filter right after we apply
it the effect is no good, right we have just goofed
| | 02:49 | up the image something fair so I don't
know what could we have done this image.
| | 02:52 | We have kind of smooth over her freckles I guess but at
the expense of some pretty nifty details inside of her face
| | 02:58 | like her eyes and her nose and her mouth for example.
| | 03:01 | And notice that I am not bothering with the selection by the way
I am like who cares about the background inside of this image
| | 03:07 | if it gets a little blurred away that's okay.
| | 03:08 | But we do worry about the face and the
hair and so on so we are going to start
| | 03:13 | with this filter turned off with this layer turned off.
| | 03:16 | And I am going to add a black layer mask, alright
and black in a layer mask means transparency,
| | 03:22 | right so we will start by turning off the
entire layer with the transparency mask
| | 03:25 | and then we will brush in white in order to brush in the layer.
| | 03:29 | And here is I want do it make sure the DNS layer is active
then press and hold the Alt key or the Option key on a Mac
| | 03:35 | and click on this little square with a circle inside of it
that little layer mask icon and notice when you Alt click
| | 03:41 | or Option click on that icon you add
a black mask instead of a white mask.
| | 03:45 | So you get to play the bad guy in the movie for once.
| | 03:48 | Excellent alright now go ahead and get the brush tool the
standard brush tool right here, we haven't really spent anytime
| | 03:54 | with it yet very common tool inside Photoshop,
allows you a just brush away inside of an image.
| | 03:59 | And I have increased the brush size a little bit actually I
might take it up another notch so I have got a 125 pixel brush,
| | 04:06 | doesn't really matter you can brush it any size
you want to but it is important that mode is set
| | 04:10 | to normal opacity a 100% flow 100% and this guy right
here the air brush icon turn that off if it's on.
| | 04:17 | But these are the default settings by the way,
| | 04:18 | and then white should be a foreground color
because you are working inside of a mask.
| | 04:23 | So make sure the mask is active so that we are
painting in right part of the image and then make sure
| | 04:28 | that white is your foreground color and start painting and
see while we get here we are now painting in these details
| | 04:35 | and I am going to make this brush actually bigger here.
| | 04:38 | And I am painting in along the skin I am painting in this
effect I am painting in the dust and scratches effect
| | 04:45 | so that it's not applied all over the place and
you can see how this takes a little extra work in.
| | 04:49 | Feel free to paint over the hair we are
going to bring that back in a moment
| | 04:52 | so don't be thinking well that looks
terrible which of course it does.
| | 04:57 | But go ahead and paint over the hair we are just going trying
| | 04:58 | to hit all these skin tones I am going
to have to make the brush smaller.
| | 05:01 | I am sizing the brush of course by pressing the left
and right bracket keys and now I am going to paint
| | 05:08 | over in this portion I am just painting away every single freckle
area that I can and I am trying to avoid edges like the edge
| | 05:14 | of the nose for example or the edge of the mouth.
| | 05:17 | But I will paint right into the mouth.
| | 05:19 | Actually you know what I am going to
paint into the lips just a little bit.
| | 05:22 | Oh and I should say I have a very soft brush active too.
| | 05:26 | You should have a soft brush active as well meaning that the
hardness value up there in the options bar which you can get
| | 05:33 | to by bringing up that Popup Palette up here that hardness
value should be set to 0 so that we have really soft transitions
| | 05:39 | between the areas where we have applied the dust and scratches
filter and the areas where we have not applied the filter.
| | 05:46 | Now go ahead and paint in down here a little bit as well
| | 05:49 | and this is looking pretty darn good,
actually a little bit of overkill of course.
| | 05:53 | I have gone too far with the effect but
that's alright we can always back it off.
| | 05:57 | Now check out the mask Option Click or Alt Click
on this mask icon here inside the Layers palette.
| | 06:03 | Doesn't it look exactly like that guy from the movie Scream?
| | 06:06 | All of a sudden she is very scary she has got
this Halloween theme going on in the background
| | 06:10 | and here's why it might look a little different that
that, it might look even scarier spooky, spooky.
| | 06:15 | Alright Alt Click or Option Click once again on that mask
in order to bring back the full color composite image
| | 06:20 | and the next thing that you need to do is just reduce the opacity
of this layer so go ahead and click on one of the selection tools
| | 06:27 | and then I want you to press something like let's press the 5
key again in order to reduce the opacity of that layer to 50%.
| | 06:34 | And this is what the image looks like without that layer.
| | 06:37 | This is what it looks like with the layer.
| | 06:39 | We have nice smooth transitions between
the painted areas and the unpainted areas.
| | 06:44 | Thanks to the fact that I was able to retain
the noise, a level of noise from one area
| | 06:50 | from the painted area all the way through to the unpainted area.
| | 06:53 | So we are looking at the inside of our mouth that I didn't paint.
| | 06:56 | In that way that people aren't likely to notice that harsh
transition that where your noise suddenly disappears.
| | 07:02 | That would be a give away that you have been inside the
image and you know in as much as where saving ourselves time
| | 07:07 | and trying to do quick and dirty job that doesn't mean
we want our effect to be sloppy or look like garbage.
| | 07:12 | It's just modesty effective it's what it comes down to.
| | 07:15 | I have got this DNS layer set to 50% now I am going to also
turn on the surface blur layer I am going to click on it
| | 07:21 | and I am going to reduce the opacity value for it to 30%
by pressing the 3 key and so this is basically it folks.
| | 07:28 | This is the final version of the effect.
| | 07:30 | Once again it gets this you know let's say 85%
the way there or conservatively 75% the way there.
| | 07:37 | I don't know how we would graph or measure such a
thing but this is the original version of the image
| | 07:41 | and this is the revised version of the image thanks
to a dust and scratches layer with a layer mask
| | 07:46 | and an unmask surface blur layer
that's set to a low opacity value.
| | Collapse this transcript |
| Reducing digital noise| 00:00 | We are now going to discretely step away from our creative
applications of the blur and averaging functions and we are going
| | 00:06 | to take a look at a filter that allows you to reduce
the amount of noise inside of a digital photograph.
| | 00:13 | And I am looking at, by the way I am looking at an image called
enhancednoise.jpg that's found inside the 12 Blur Average folder.
| | 00:20 | And you may recall from the previous chapter, this is that image
from Rasmusen that had a little bit of camera shake inside of it
| | 00:28 | and we remedied the camera shake to a degree
of course by choosing the Smart Sharpen filter
| | 00:33 | and then setting the Remove function to Motion Blur.
| | 00:36 | And it's done this image a tremendous amount of good.
| | 00:40 | The motion blur now is virtually gone from the image but the
command also managed to increase the effect of the noise inside
| | 00:47 | of this photograph and in case you don't know what
noise is I am going to zoom away into this image.
| | 00:55 | See those random pixel variations right there, there
is this array of random colors inside of this image
| | 01:02 | and these random colors are not imparting detail, they are not
imparting actual information about the subject of the photograph,
| | 01:09 | they are strictly random and that's called Noise.
| | 01:12 | And noise is always a function of a digital photograph whether
you like it or not, but it doesn't have to be this bad.
| | 01:18 | If it starts getting this bad whether it's because the
image was noisy in the first place because it was blurry,
| | 01:24 | blurry images are frequently noisy images or whether it's because
you sharpen the image and exaggerated the noise or a combination
| | 01:31 | of both as with this image then you can reduce the amount
of noise inside the image without harming the details
| | 01:37 | that turns out, if you are careful using the Reduce
Noise filter, very powerful function inside of Photoshop.
| | 01:42 | So I am going to press the F key a couple of times in
order to fill this screen with this image and I am going
| | 01:46 | to press Shift+Tab to make those palettes go away and then
I am going to go ahead and zoom out by pressing Ctrl+Alt+0
| | 01:54 | or Command-Option-0, I am going to zoom
this guy out to the 100% view size here.
| | 01:59 | And I am going to move him over to the
right hand side of the screen and it's going
| | 02:02 | to be evident why I am doing that in just a moment.
| | 02:04 | This is another one of those gargantuan dialog boxes that takes
up this entire little format screen here so I am going to go
| | 02:10 | up to the Filter menu, I am going to choose the Noise
command and I am going to choose Reduce Noise right there.
| | 02:16 | And if you load in my D keys, I gave you a keyboard
shortcut Shift+F9 and as I say big dialog box of course,
| | 02:24 | these are the default settings by the way, Strength
of 6, Preserve Detail 60%, you can read the rest.
| | 02:30 | What really matters is how do the functions work.
| | 02:32 | Now we have a dialog box inside the preview notice
that and then the Reduce Noise filter is also capable
| | 02:37 | of previewing it's effects outside in the larger image window.
| | 02:40 | So I am going to do this number here, I am just going to move
this dialog box over to the left hand side of the screen,
| | 02:46 | isn't that clever, so that we just have a single preview inside
of the larger image window and we are not missing anything
| | 02:54 | over on hidden part of the dialog box right now.
| | 02:57 | Alright so these settings I would say are way too conservative.
| | 03:01 | This image does look better for it,
but it looks better on screen.
| | 03:04 | If we were to print the image, I doubt we would
notice any difference between the corrected version
| | 03:09 | and the uncorrected version without and with noise.
| | 03:12 | So I am going to increase the strength of this function
and I will show you how I am going to go about doing that.
| | 03:18 | Go ahead first of all and this is how I
recommend you work inside this dialog box,
| | 03:22 | turn up the strength value to its maximum which is 10.
| | 03:25 | Now the strength value tries to smooth over
luminance noise that is random variations
| | 03:32 | and luminance levels between one pixel and its neighbor.
| | 03:35 | Preserve Details tries to keep the real detail inside the
image and make sure that it doesn't gets smoothed over.
| | 03:42 | Unfortunately, if you have the Preserve
Details value set too high
| | 03:45 | and I believe 60% is too high then you are really
not going to get very far with the strength value.
| | 03:49 | So for now as a starting point, just turn Preserve Details
down to 0% and then you will really start to notice.
| | 03:56 | See that you really start to notice the effects of the filter.
| | 03:58 | Now this is too much and we are starting to get
this, actually this is really cool painterly effect,
| | 04:03 | but for now it's a good place to start, it's basically my point.
| | 04:06 | Alright Reduce Color Noise that's the other kind of noise
you might encounter, so you have got luminance noise
| | 04:11 | and then the other ingredient in the full
color image besides luminosity is color,
| | 04:15 | so this would be random variations in
colors from one pixel to its neighbors.
| | 04:21 | I also recommend you go ahead and max this up for now,
just go ahead and take it as high as it goes a 100%
| | 04:26 | and then finally take the Sharpen details value
down and there is a couple of reasons for this,
| | 04:30 | one we have already sharpen this image, so I am not
sure how wise it is to sharpen on top of sharpening.
| | 04:35 | And the other thing that you should know about Sharpen details,
| | 04:37 | it's a very sort of quick and dirty
once again sharpening function.
| | 04:42 | Remember that little more accurate checkbox
inside this Smart Sharpen dialog box,
| | 04:46 | well if you max out the Sharpen details value, you will
see basically that same effect going on inside the image.
| | 04:53 | There is no radius control, it's just an
amount control you know and there is none
| | 04:57 | of the other high fluid controls inside the
Unsharp Mask and Smart Sharpen dialog boxes.
| | 05:01 | So you just get very detailed sharpening,
so it works well for the hairs
| | 05:06 | and for you know these details inside the lips and so on.
| | 05:09 | But it also ends up creating this sort of wormy
effect throughout the image, so it displaces a noise
| | 05:15 | but it doesn't really make the noise go away
and I am not sure the image looks sharp,
| | 05:19 | particularly if you sort of zoom out from the image a little bit.
| | 05:22 | You are going to have a hard time seeing the effects
of Sharpen details, so I don't recommend this function.
| | 05:27 | If you are going to use it use sparingly, the
default value I believe is 25% and that I wouldn't go
| | 05:34 | that high, it's basically what it comes down to.
| | 05:36 | The idea though is it's trying to account
for the bad effects of the other functions,
| | 05:43 | the Strength and Reduce Color Noise functions that end up
averaging pixels, this is trying to account for that averaging
| | 05:49 | and basically sharpen the details sort of in opposition.
| | 05:52 | Anyway, once you have set up these values here, once you have
set up them this high, you might want to leave Strength alone,
| | 05:58 | I like a high strength value but you can take it down if you
want to, you have only got 10 increments available to you.
| | 06:03 | So you could go ahead and press the down arrow
key to take it down a little bit, if you want.
| | 06:07 | I am going to leave it set pretty high, I am going to set
well not pretty high, all the way up, I wish even higher.
| | 06:12 | I am going to leave it set to a Strength value of 10 and
then I am going to press the tab key a couple of times
| | 06:15 | to go to the Reduce Noise Color function here.
| | 06:18 | And I am going to press shift down arrow in order to take
this value down, because what I don't want to see happen,
| | 06:24 | I don't want the colors around the flesh for example to start
bleeding into the white of the eye and I don't want the color
| | 06:30 | of the iris to start bleeding into the flesh or into the eye
and I don't want the colors of the lips to bleed away and so on,
| | 06:37 | because if you have too high of Reduce Color
Noise value that's exactly what will happen,
| | 06:40 | you will start bleeding colors into each other.
| | 06:43 | So I am going to, for this image, I am taking it down to 50%.
| | 06:46 | Now let's go ahead and take the Preserve Details value
up, now if I take it, now watch this screen this time,
| | 06:52 | if I take it up to 10% it makes a
pretty big difference, see that.
| | 06:57 | Right away we are starting to see those
details come back and we are starting
| | 07:00 | to see some of the noise information come back as well.
| | 07:03 | So I recommend a low Preserve Details value, I
am going to take this down to 5% as it turns out.
| | 07:10 | And if you are going to use, once again if you are going
to use Sharpen details at all then use it sparingly
| | 07:16 | and I am just going to take it up to 5%, what the heck.
| | 07:19 | Remove Jpeg Artifact, don't worry about this checkbox
right now, I will show it to you in the next exercise.
| | 07:23 | Now it's probably a good idea, you can save your settings here,
| | 07:26 | so go ahead and save your settings by
clicking on this little Save button.
| | 07:30 | And I am going to call this setting Routine Noise because it's
kind of noise that I encounter inside images on a regular basis.
| | 07:36 | I will change the settings value of course to Routine Noise
and then I will Click OK in order to accept that modification.
| | 07:43 | And this is the modified version of the image, notice that
the command can take a little bit of time in order to apply,
| | 07:49 | but this is the before version and this is the after version,
so it's probably going to be pretty subtle in the video here,
| | 07:54 | let's go ahead and zoom in a little
bit, so that we can see it better.
| | 07:57 | This is the before version of the image with ton of Noise
especially notice that we have got a lot of luminance noise here
| | 08:05 | in the shadows and an awful lot of color noise in the midtones
and then when I redo the application of that filter just
| | 08:12 | about all that noise goes away, it all
gets smoothed out very, very nicely,
| | 08:16 | thanks to the incredibly powerful Reduce Noise filter.
| | Collapse this transcript |
| Smoothing out JPEG artifacts| 00:00 | Another function of the Reduce Noise Filter is that it allows
you to smooth away JPEG compression artifacts inside of an image.
| | 00:08 | Now the image that we are looking at on screen
right now is called ornamentaldetail.jpg.
| | 00:12 | It's inside the 12 Blur Average Folder
and this is an image that I shot myself.
| | 00:17 | I wouldn't do this to anybody else's image and not only was
it pretty darn compressed in the first place but then I turned
| | 00:24 | around and saved the image with a JPEG quality setting of
zero which is the lowest setting you can apply from Photoshop.
| | 00:31 | And that means even though the image is 1.5 Megs in memory it's
not very big but still 1.5 Megs it only takes up 50K on disk.
| | 00:40 | That's how much you compress down.
| | 00:42 | But it looks like garbage because of
this heaping helping of JPEG compression.
| | 00:46 | Now I am going to go ahead and zoom
in on this little detail here.
| | 00:49 | Notice this little highlight that's in the lower right corner of
this generic holiday ornament here and you can see it's supposed
| | 00:57 | to be a smooth highlight but it's anything but smooth it's
choppy, it's made up of a bunch of gargantuan squares.
| | 01:03 | Now these squares measure 8x8 pixels alright so 8 pixels wide, 8
pixels tall this is how Photoshop invokes its JPEG compression.
| | 01:14 | And the idea is it locks down so JPEG
compression is lossy meaning that it goes
| | 01:19 | through and rewrites the pixels inside of an image.
| | 01:21 | It locks down in these 64 pixel blocks, it locks down the
top left pixel, locks down its color and then it tries
| | 01:29 | to change the color of the other 63
pixels based on this upper left pixel.
| | 01:35 | So it tries to change them to be slightly similar is
basically the idea and it makes for smaller code on disk
| | 01:42 | and it also makes for a choppier image on screen and in print.
| | 01:46 | Now what's amazing about it even though we have this enormous
amount of JPEG compression applied to this image to the extent
| | 01:52 | that we have just a bunch of big squares here when we
are zoomed in this tight, we are zoomed into 1200%.
| | 01:59 | If I were to zoom out or press Ctrl
Alt 0 or Command Option 0 to zoom
| | 02:03 | out to the 100% view size notice how
amazingly smooth that actually is.
| | 02:07 | Now it's not entirely smooth you can see that there is a lot
of compression artifacts there but it doesn't look like a bunch
| | 02:13 | of squares quite to the extent that
it did when we were zoomed in.
| | 02:15 | And the amazing thing about JPEG and the way that it works is
it does a heck of a job of fooling our eyes from a distance
| | 02:22 | so as long as you stick with a high
resolution file you can get away with a lot
| | 02:26 | of compression not this much of course but you know pretty much.
| | 02:31 | Alright anyway let's say that your image is either highly
compressed like this one or it's not all that compressed,
| | 02:37 | it just has some light compression artifacts inside of it but
you want to be able to sharpen the image or otherwise modify it
| | 02:43 | without enhancing those compression artifacts.
| | 02:45 | What do you do?
| | 02:45 | Well I am going to once again Shift+Tab away my
palettes and press the F key a couple of times in order
| | 02:51 | to switch this Full Screen mode here and I am going
to scroll the image over to the right a little bit.
| | 02:55 | Now the Reduce Noise Filter appears at the top of my Filter menu
because it was the last filter I applied so I can just go ahead
| | 03:03 | and press Ctrl Alt F or Command Option F on the Mac in order to
bring up the reduce noise dialog box and once again I am going
| | 03:10 | to move it off to the side so we can
maximum use of this small format screen.
| | 03:16 | And I am going to really lay on the reduce noise function here.
| | 03:20 | First of all I am going to turn on Remove JPEG Artifact because
that does a better job, it's a subtle function as it turns out
| | 03:27 | but that will go through and do a better job of
focussing the command's energies on the contrast areas
| | 03:34 | between one 64 pixel block and the next 64 pixel block.
| | 03:39 | Now I am going to really maximize my
settings by of course turning the strength
| | 03:44 | up to 10, taking the Preserve Details Value down to 0.
| | 03:48 | I am going to take the Reduce Color Noise function up to 60%
and I am going to raise Sharpen Details just a little bit here
| | 03:55 | because we just want a little bit of sharpening applied
to the image because we are losing so much information.
| | 03:59 | Now in addition to remove JPEG artifact
here we have another control.
| | 04:04 | At the top of the dialog box you can see Advanced and
watch this area when I turn on the Advanced Radio button.
| | 04:09 | We now get two tabs overall and we have already seen
these controls and then per channel which allows us
| | 04:15 | to modify the image on the channel by channel basis.
| | 04:17 | Now I am going to click over here so that we can see this weird
little highlight and also we can see the red channel of the image
| | 04:23 | and you can see the compression artifacts
are by far worse inside the red channel.
| | 04:27 | Now you can apply various settings to the red, green
and blue channels independently if you want to,
| | 04:32 | I am just going to focus on red channel here by raising
the strength to 10 and reducing Preserve Details to 0
| | 04:39 | so that we are smoothing over as much as we can inside this image
and you can see how much smoother the red channel is as a result.
| | 04:48 | Now I am going back to overall and because we have
done so much work on red channel I figure we can afford
| | 04:54 | to take the strength value down a little bit, I am
going to take it down to 5 actually and I am going
| | 04:58 | to take the Preserve Details value up to 50% in order to raise
that so that we get some of our details back inside the image.
| | 05:06 | And notice even though we are getting the details back in this
region right here you can see that we are still getting rid
| | 05:13 | of a lot of the compression artifacts, we are smoothing away a
lot not all of course because they were so bad in the first place
| | 05:19 | but we are doing a pretty darn good job of
smoothing them away all things considered.
| | 05:24 | Okay let's go ahead and save our settings and
I will click on that little floppy disk icon
| | 05:29 | and I will enter Really Bad Artifacts or something
along those lines here and then I will click OK.
| | 05:35 | In order to accept those new settings, I will
choose the new settings of course to make sure
| | 05:39 | that I don't overwrite routine noise when I click the OK button
and now I click OK and this is the result of having applied
| | 05:47 | that filter, this is before and this is after.
| | 05:51 | An amazing actually an amazing transformation
of this heavily compressed image thanks
| | 05:56 | to that awesome powerful reduce noise filter.
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13. Layer EssentialsBehold, the layered composition| 00:01 | Every photo begins life as a few channels of data, most
commonly one each for red, green and blue, fused into a single
| | 00:08 | composite image. Whether it comes from the least
expensive digital camera or a professional level drum scanner,
| | 00:14 | the image exists entirely on one layer. One and only one
| | 00:19 | color value exists for each and every pixel, and there's no
such thing as transparency. Such an image is said to be flat,
| | 00:26 | but as soon as you begin combining images, you add layers.
Each layer serves as an independent image that you can stack,
| | 00:32 | transform or blend with other layers. An image that
contains two or more layers is called a layered composition
| | 00:39 | or simply a composition or comp.
| | 00:42 | There's no need to wait until certain point in the editing cycle
to build such a composition. You can add layers whenever you like,
| | 00:47 | as we have several times in previous chapters.
In fact, it's difficult to avoid adding layers in Photoshop,
| | 00:53 | but layers have a way of becoming even more useful
after some of the basic editing is out of the way.
| | 00:59 | That's why I've waited until now to show you the many ways
to create and manage layers in Photoshop. So with your permission,
| | 01:05 | I'd like to introduce you to the layered composition as if
you've never witnessed such a thing in your entire life.
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| The Layers palette| 00:01 | Alright, in this chapter, we are going to
scrap it up here with the Layers palette.
| | 00:06 | We are going to learn the many machinations of what has
got to be the most important palette in all of Photoshop.
| | 00:13 | To that end, I want you to open an image that is the beginning
of a project that will carry us over a few exercises here,
| | 00:21 | it's called stsebastian.psd and it's
included inside the 13 Layers folder.
| | 00:27 | And what we are seeing here is a multilayered image of the layers
but the background are turned off right now because we are going
| | 00:33 | to use the other layers to build the remaining
portions of the composition as we will see.
| | 00:38 | But we are starting things off with a painting of St.
Sebastian as imagined by High Renaissance Artist Raphael.
| | 00:47 | And we are going to take this image
and we are going to transform it
| | 00:50 | into this image right here stdexter.PASD
is what I am calling this one.
| | 00:54 | There is not really any reason for you to open this
image, I do include it however in case you later want
| | 00:59 | to see how it's put together, if you are going
to confuse as you work through the exercises.
| | 01:03 | But this is the final version, this is what we are going for.
| | 01:06 | And you can see there is a fair amount of differences going on.
| | 01:09 | For one, my face of course is being
substituted for that of St. Sebastian.
| | 01:13 | Also, the hand has been made bigger.
| | 01:16 | Notice that wee little hand that St. Sebastian has.
| | 01:19 | When he hadn't raised it to a more normal sort
of ratio where my hand and face are concerned.
| | 01:25 | Also, I put a frame around the entire image and added a black
vineyard around the edges, and we will be doing all of that
| | 01:33 | as well over the course of these next few exercises.
| | 01:35 | The reason I came out with this project
in the first place was not to show you.
| | 01:39 | It was actually because I was called upon to serve as the speaker
at an event that had a Renaissance theme associated with it
| | 01:46 | and they wanted a photo, of course, of me for the brochure
or what have you for the website, and I came up with this.
| | 01:53 | So, that's what we are seeing here and it just
happens to be something of a fun project I think.
| | 01:58 | But I would, it's me.
| | 02:00 | Alright, anyway, so let's switch back to St. Sebastian here,
the moon faced St. Sebastian with this tiny little hand.
| | 02:06 | Alright, I want you to make sure that
the Layers palette is open on screen.
| | 02:09 | If it ain't, then click on the Layers tab or go up to the
Window menu and choose Layers command or press the F7 key
| | 02:17 | and that is not a keyboard shortcut that I have included for
you, that is one of Adobe's predefined shortcuts by the way.
| | 02:24 | Now, you will see that we have the
Background layer active and it's turned on,
| | 02:29 | so the eyeball appears in front of the Background layer.
| | 02:32 | The other layers are all turned off and inactive right now.
| | 02:35 | Now, Photoshop is kind enough to show me these
tiny itsy-bitsy little thumbnails associated
| | 02:40 | with each and every one of my layers.
| | 02:43 | I prefer to see larger thumbnails than these.
| | 02:46 | So, I tell you what we are going to do here.
| | 02:47 | First of all, if necessary, you can make your Navigator
palette even smaller by dragging this horizontal bar upward,
| | 02:54 | and that should give you some room to see
this blank area at the bottom of the palette.
| | 02:58 | So at that point, you should be able to right-click and
then just choose Large Thumbnails, that's one way to work.
| | 03:05 | The other way to work, I will just go ahead and show
you, is to click on this little Menu icon right there
| | 03:09 | and then choose Palette options from the Layers palette
menu, and then you will get this dialogue box here
| | 03:14 | from which you can choose larger thumbnails, and you can
see these are little tiny Merlins on a little Paint palette.
| | 03:21 | Back in Chapter 10, I was showing you when you change the size
of items in the Channels palette, you see a little silhouette
| | 03:27 | of this very graphic, and you may say
how do you know they are Merlins, Deke.
| | 03:31 | Well, let me show you.
| | 03:32 | I will click OK after selecting the largest
one and now we can see big thumbnails
| | 03:36 | as you are seeing here inside the Layers palette.
| | 03:38 | How do I know they are Merlins?
| | 03:40 | Check this out, press and hold the Alt key or the Option
key in the Mac, then choose Palette options once again
| | 03:46 | and you will get this little teeny Easter Egg
that's been inside Photoshop for ever and ever,
| | 03:51 | that says Merlin lives if there is enough room -- the
entire title bar, it's Merlin Lives and there is Merlin,
| | 03:58 | that's how we know it's Merlin because I am assuming
the flower ate Merlin, although you never know.
| | 04:02 | And then you click the gun, that's all that's going on there, not
a feature really per se, just kind of an Easter Egg once again.
| | 04:10 | Alright, one other thing you can do if you like, notice that the
thumbnails are scaled according to the size of the full graphic,
| | 04:18 | so that you are seeing transparency
and imagery inside of a layer.
| | 04:23 | If you just want to focus in on the pixels that are
associated with the layer and get rid of the transparency,
| | 04:29 | then go back to that same palette, just choose Palette
options, don't press Alt option this time around,
| | 04:34 | and make sure the thumbnail content is set to layer
balance instead of entire document, make it layer balance
| | 04:40 | and then click OK, and you will see much
bigger thumbnails now inside of the space.
| | 04:46 | So Photoshop is going ahead and cropping each one
of these thumbnails to make it its absolute biggest.
| | 04:51 | Some of these thumbnails are very scary admittedly, but
that gives you a sense of what's going on inside the image.
| | 04:57 | In the next exercise, we will set about actually
creating our first layer inside this composition that is
| | 05:03 | and that layer is going to convey the larger more manly hand.
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| Enlarging the hand| 00:01 | Now far be it from me to criticize the painting of a
High Renaissance artist like Raphael but it seems to me
| | 00:08 | that this hand is awfully dinky especially
by comparison to this big moon pie
| | 00:13 | of a face here and so I am going to make the hand bigger.
| | 00:17 | I figure it's incumbent upon me to do so and you can do the
same either by working along with me throughout this exercise
| | 00:24 | or by taking a shortcut and just turning on the second
to bottom most layer here inside the Layers palettes
| | 00:30 | so you would scroll all the way down to the
bottom of the Layers palette and then just turn
| | 00:33 | on the eyeball belonging to this
hand layer that you can see here.
| | 00:37 | And that will turn on the manly hand that I have created
that has a little bit of garbage at the bottom of the screen
| | 00:42 | as you can see but that ends up getting covered
up by the picture frame so it's not an issue.
| | 00:47 | Alright but I am going to show you how I made this layer
so I am going to throw this one away rather boldly I think
| | 00:52 | and to throw away a layer here is what you do.
| | 00:54 | You just grab it and drag it to the trash can like so
that's one way to work or I will undo that modification.
| | 01:02 | You can also just select the layer and click on the trash
can icon but if you do that Photoshop is going to ask you
| | 01:07 | if you really mean to delete the layer or not
and you can say Don't Show Again if you want to.
| | 01:12 | I will show you a different way to work.
| | 01:14 | The other way to work is just to press the Alt key or
the Option key on the Mac and click on the trash can icon
| | 01:19 | and that way you don't see the delete layer alert.
| | 01:22 | I am going to switch from the rectangular marquee tool to
the elliptical marquee tool and then I am going to Alt drag
| | 01:28 | or Option drag from about this point here outward in order
to create an elliptical selection from the center out like so
| | 01:37 | and if I don't have it exactly where I want it
to be in place that is I can press the spacebar,
| | 01:42 | press and hold the spacebar in order to move that marquee around.
| | 01:46 | So I have both the Alt key and the spacebar down right now,
| | 01:49 | on the Macintosh side I would have
both the Option key and spacebar down.
| | 01:53 | Anyway once I get the marquee in place I will release
the spacebar then I would release the mouse button
| | 01:58 | and then I would release the Alt or Option
key and that goes in and selects the hand.
| | 02:03 | Now I am going to go ahead and jump the hand to a new layer.
| | 02:06 | You may recall that there is a few different ways to do that.
| | 02:09 | You can go up to the Layer menu, choose
New and choose Layer via Copy if you want.
| | 02:13 | That's the hard way I think or you
can press the keyboard shortcut Ctrl J
| | 02:17 | but what if you want to name the new layer as you create it.
| | 02:20 | Well then you press Ctrl Alt J or Command Option J on the Mac.
| | 02:26 | To bring up the new layer dialog box then we can name
this layer ManlyHand like so and then click OK in order
| | 02:35 | to generate the new layer and there
it is ManlyHand all ready to go.
| | 02:39 | Now the next thing I want to do is enlarge the hand and I am
going to do that using a distortion filter known as Spherize
| | 02:47 | but if I apply the Spherize filter right now
it's going to work from the center outward.
| | 02:51 | It's kind of like that radio blur filter that we saw on
the previous chapter where once it worked from the center
| | 02:56 | of the image as a whole as opposed
to the center of the active layer.
| | 03:00 | And in order to make it work from the center of the active
layer you need to load the selection outline that's associated
| | 03:05 | with this layer and you can do that in a couple of
different ways one is you can go up to the select menu
| | 03:11 | and you can choose load selection and then you would say that
you want to load the ManlyHand Transparency Mask as your channels
| | 03:21 | so you would select ManlyHand transparency and that's the only
one that's available for me and then you would click Okay.
| | 03:26 | So that's one way to work.
| | 03:27 | I will cancel that because the simpler way to work is
just to press the Ctrl key or the Command key on the Mac
| | 03:33 | and click on that layer thumbnail that
will load that selection outline as well.
| | 03:37 | Now let's go up to the Filter menu, choose the Distort command
and choose the Spherize command and at this point I am just going
| | 03:46 | to go ahead and leave the amount value set to a 100%, I
want the mode set to normal, I don't want horizontal only
| | 03:52 | or vertical only so normal is the way to go here.
| | 03:55 | You can check out the preview, the in-dialog box preview if
you want to or you could just say to heck with it I am going
| | 04:00 | to click OK because Deke told me to and that's what I
want you to do just go ahead and click that OK button
| | 04:05 | and by Spherizing the hand we make it much, much bigger
as you can see here more in keeping I think with the face
| | 04:12 | and especially the face that I am going to add my own
face which is going to cover up that of Saint Sebastian's.
| | 04:18 | Alright so that's what it takes to enlarge this hand but
if you now press Ctrl D or Command D on the Mac in order
| | 04:24 | to deselect the hand, you will notice
that we have a horrible transition
| | 04:28 | between the distorted hand and the rest of Saint Sebastian.
| | 04:33 | We are going to make that transition look much, much
better using a layer mask inside the next exercise.
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| Erasing with a layer mask| 00:00 | Now that we have enlarged the hand, we need to blend
it in with its background and I could just get rid
| | 00:07 | of this stuff that's outside the hand by erasing
in a way using the Eraser tool right here.
| | 00:12 | So if you click on the Eraser tool maybe make the
cursor little bigger by pressing the right bracket key
| | 00:18 | and then just paint away the offending pixels here around
the outside of the hand then of course you are going
| | 00:26 | to make those pixels invisible and you
are just going to leave the hand behind.
| | 00:30 | The problem with working this way is this is a permanent pixel
level alternation and that means in the future if you decide
| | 00:38 | that your transitions look wonky and you want to fix
them you don't have a lot of options available to you.
| | 00:44 | So you are much better off, the more flexible route is
to create a layer mask and that's what I am going to do,
| | 00:49 | I am going to press Ctrl Z or Command Z to undo that Eraser
tool modification then I am going to go down to the bottom
| | 00:56 | of the Layers palette say this Add Layer Mask icon and I am
going to click on it in order to add a new white layer mask
| | 01:03 | because for starters I want to be able to see all of the hand.
| | 01:06 | And now I am going to erase it away by painting black into
the layer mask using the standard paint brush tool right here.
| | 01:13 | So go ahead and get the brush tool.
| | 01:15 | Let's make that tool much larger actually something
about 60 pixels works out pretty nicely I think.
| | 01:21 | Make sure that black is your foreground color, if it's not then
you would want to press the D key and then press the X key.
| | 01:28 | So D key gets you your default colors and then X switches
them so that you have black as your foreground color
| | 01:36 | and I also want my brush to be a little harder.
| | 01:38 | Right now it has a hardness of 0% by default.
| | 01:41 | In order to make it harder than that, I
will go ahead and press the Escape key.
| | 01:44 | I am going to press Shift right bracket twice in a row so now I
have a pretty hard brush going and now I can paint away notice
| | 01:52 | that I am painting away by masking away
the portions of the hand that I don't want,
| | 01:57 | the portions of the hand layer that is to say that I don't want.
| | 02:00 | Now I am going to zoom in a little more closely
here and reduce the size of my brush cursor.
| | 02:05 | Now I have got kind of a straight-line going at this point along
the index finger so I am going to click here and then I am going
| | 02:11 | to Shift Click here in order to connect that click point
and the shift click with a straight-line and then I am going
| | 02:16 | to carefully paint around this knuckle like so and then I am
going to paint this junk away over in this area to get rid of it.
| | 02:24 | We may have some other stuff that needs to be painted away.
| | 02:27 | Oops I need to paint over the thumb as well to get rid of that.
| | 02:31 | And what's beautiful about this technique about
layer masking in general is note if you go too far,
| | 02:36 | if you like paint into the fingers a little bit
like you sort of scrape off the end of the finger
| | 02:42 | like I did just there then you can paint it back in by
pressing the X key to switch white to your foreground color
| | 02:48 | and then just click on the finger in order to paint white
into it and you will paint that finger back into place there.
| | 02:54 | So it's nice to have this kind of flexibility.
| | 02:57 | That's a degree of flexibility obviously that you
would not have were you working with the Eraser tool.
| | 03:03 | Alright I am going to press the X key again in order
to switch black to my foreground color and I am going
| | 03:08 | to paint along the bottom of the hand just a little bit.
| | 03:12 | Oh scraped off a knuckle that's okay, actually
I am going to go ahead and gouge down into here
| | 03:17 | because we have a 90 degree angle that's difficult to
represent with the soft brush and now press the X key in order
| | 03:23 | to switch my foreground color to white and
I will paint that finger back in like so.
| | 03:27 | And you can see that we are exposing a little bit of the
finger underneath the little hand from underneath there.
| | 03:33 | We will go back to it and paint that
back into place in just a moment.
| | 03:37 | But first I want to make sure that I have got my existing
layer mass the way that I want to, it looks pretty good.
| | 03:42 | Now go ahead and grab your Move tool because notice
one of the primary issues here is that this arrow.
| | 03:48 | Saint Sebastian is holding an arrow because I believe
he was pierced with one, I believe that's how he died
| | 03:54 | and so he is holding this arrow and the arrow shaft goes into his
hand here but then we are seeing it go between his index finger
| | 04:04 | and his thumb at this location so that's a little out of whack.
| | 04:07 | So what I want you to do is I want you to grab the Move tool and
then drag that hand over until you are starting to expose regions
| | 04:15 | of the background finger there because we don't
want the fingers, the original fingers to show up.
| | 04:19 | So just go ahead and drag it over to the left a little bit using
the Move tool and notice that both layer and mask move together
| | 04:27 | because of that little chain icon, see that tiny chain
icon between the thumbnails inside the Layers palette,
| | 04:32 | that allows you to move the two with each other.
| | 04:35 | If you decide you want to move one or the other
independently, you just click on the chain icon
| | 04:39 | to turn it off and that chain indicates a link.
| | 04:41 | Anyway I will click again in order to turn the link back on
| | 04:44 | and then finally I might need to modify
the layer mass just a little more.
| | 04:49 | I will press the X key in order to paint back in some of
this hand layer here in order to cover up some of the details
| | 04:55 | that I don't want to see showing
through from the hand in the background.
| | 05:00 | So everything looks pretty good except that I actually
have a little of a double sleeve going on over here
| | 05:05 | in the lower left hand corner of the
image, you can see it right there.
| | 05:08 | I am going to actually press the F key to switch to
the Full Screen mode so I can move this guy around.
| | 05:13 | Alright so you can see how I have a double sleeve.
| | 05:15 | I am going to press the X key in order to make
sure that the foreground color's black once again
| | 05:20 | and then I am going to paint that excess sleeve away.
| | 05:23 | And if you want to make sure that you have gotten rid of
everything on the outskirts on the parameter of this layer
| | 05:29 | so that you have some smooth transitions really set up and you
are not missing anything then you would Alt Click or Option Click
| | 05:35 | on the layer mask thumbnail in order to see the mask by
itself and now you can see oops there is some area there
| | 05:41 | that you should click, there is that area you know I
should probably just trim this stuff up to make sure
| | 05:46 | that I am not allowing anything to show through
that I really don't want to show through.
| | 05:51 | Alright once I have done that then I would Alt
or Option Click on the layer mass thumbnail again
| | 05:55 | and everything looks actually pretty darn good.
| | 05:57 | Alright so that's the enlarged version of
the hand don't worry if you have a little bit
| | 06:00 | of edge going on at the very, very bottom of the image.
| | 06:04 | That is going to get covered up by the frame as I said before.
| | 06:07 | So this is St. Sebastian with his larger more manly hand
thanks to the Spherize function of course that allowed me
| | 06:15 | to enlarge the hand in the first place and layer masking of
which I cannot say enough positive things teal wonderful feature
| | 06:23 | that you should take advantage of all the time inside Photoshop.
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| Moving a layer| 00:00 | In this exercise I am going to show you the various
ways to move a layer around inside Photoshop assuming
| | 00:06 | that you are working along with me here inside
the SaintSebastian.psd image then go to the bottom
| | 00:11 | of the layer stack here inside the Layers palette and you
will see a layer called MyFace that is currently turned off.
| | 00:17 | I want you to turn it on by clicking in this eye
area here, this eyeball area and that makes it
| | 00:23 | of course visible inside of the image window.
| | 00:26 | Now get the Move tool which allows you to move layers
around inside Photoshop and go ahead and drag the face.
| | 00:32 | And what you will probably find is that you are dragging
the hand instead which can be a little bit confusing.
| | 00:38 | The reason is that Photoshop is by
default moving the active layer.
| | 00:42 | Now by turning the MyFace layer on I didn't
make it active, I just made it visible.
| | 00:47 | So I am going to undo that modification
there so that I don't move the hand.
| | 00:51 | You need to actually click on the MyFace layer here inside the
Layers palette and then drag it or I will undo that modification.
| | 00:59 | If some other layer is active and you want the Move tool
to behave in a more intelligent fashion then you can turn
| | 01:05 | on this Auto Select checkbox here in the Options bar and you can
also choose whether to automatically select a group or a layer
| | 01:12 | and that would be an individual layer inside of a group.
| | 01:14 | We don't have any groups inside of this document
and I will show you groups a little later inside
| | 01:18 | of this chapter so let's not worry about that for now.
| | 01:22 | But notice the hand layer once again is active and
were I to drag the face, Photoshop would go ahead
| | 01:28 | and automatically select the face and move it to a new location.
| | 01:31 | Now that might make you think that that's the best solution is
to just go ahead and turn on Auto Select, turns out not really.
| | 01:39 | I don't like this option on by default,
I go ahead and turn it off.
| | 01:43 | The reason is that sometimes I want to be able to move an item
when my cursor is well outside of the confines of that layer just
| | 01:52 | for alignment purposes or just because I am being
sloppy whatever, you get used to working a certain way
| | 01:58 | and it becomes your way of working,
isn't that philosophy for you.
| | 02:02 | Alright so in my case I am going make sure that my face is
selected and then I am going to drag it to a new location
| | 02:07 | for example I could put it down here so it looks like
Raphael is wearing a very realistic mask in a foreground.
| | 02:13 | We can even make it look like he's got his mask
on this little sort of this little mask holder.
| | 02:19 | Alright anyway I will undo that modification.
| | 02:21 | If any other tool is selected for example if I still
have the brush tool selected I can press the Control key
| | 02:27 | or the Command key on the Mac in order to get the
Move tool temporarily so that I can drag things
| | 02:32 | around so once again that's Control or Command dragging
to move a layer when some other tool is selected.
| | 02:39 | If you want to be able to nudge a layer to a new position
then go ahead and select the Move tool once again
| | 02:44 | and either press an arrow key which will move the
image in single pixel increments or press Shift along
| | 02:50 | with the arrow key in order to move in 10 pixel increments.
| | 02:55 | Now I prefer the 10 pixel increments because when you press Shift
| | 02:59 | with an arrow key you always get 10 pixel
increments regardless of your zoom ratio.
| | 03:03 | If you just press the arrow key then you get 1
screen pixel increment so it varies depending
| | 03:10 | on your zoom ratio which is really weird in my opinion.
| | 03:13 | Alright let's say you want to nudge a layer
around when some other tool is active.
| | 03:18 | I am just trying to show you all your options here folks.
| | 03:21 | Then let's say the brush tool is still
active then I would press Ctrl Shift
| | 03:26 | or on the Macintosh side Command Shift along with an arrow key.
| | 03:30 | And what I want you to do is assuming that you are working this
way I want you to press Control Shift left arrow four times
| | 03:36 | in a row or Command Shift left arrow four times
in a row to move my face 40 pixels to the left
| | 03:43 | from where it was originally located and you will
get this nice match of my face with the background.
| | 03:49 | Now we obviously have a lot of problems, my face isn't colored
properly, I don't have enough hair covering up this portion
| | 03:55 | of Saint Sebastian who is showing through in the background.
| | 03:58 | We will of course solve all of those
problems in future exercises.
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| Combining layers into a clipping mask| 00:00 | In this exercise we are going to add a couple of layers
to help make my face better match its environment here.
| | 00:07 | And if you are looking very closely you might notice
that my face is a tad bit pink compared with the rest
| | 00:13 | of the image particularly when compared with
Saint Sebastian's kind of orangish face.
| | 00:19 | The good news is he is barely awake and I am very alert
| | 00:22 | but I need to somehow make my face more orange
and I also need to make it more painterly.
| | 00:27 | Now I have already done a lot of healing work over my
face in order to get rid of some details like I just
| | 00:33 | about healed away my eyebrows and some of the hairs on my
goatee and I sort of trimmed up my entire jawline and so on.
| | 00:42 | And I healed some texture into my face as
well using the healing brush as it turns out.
| | 00:47 | Now I am going to add some more stuff, some more texture
starting with a little bit of background a little bit
| | 00:53 | of the image background here that I jump to a new layer.
| | 00:56 | So inside the Layers palette, let's scroll up a little bit.
| | 01:00 | Above my face you will see two layers called paint
and coloring, I want you to turn on paint first.
| | 01:06 | And all this is, is a marqueed area of the image actually right
around here I marqueed the image with a rectangular marquee tool,
| | 01:14 | I jumped it and then I scaled this selection here, I scaled
this layer that is to say using the Free Transform Function.
| | 01:22 | There is a Free Transform Function under the Edit menu and
you can choose free transform or you can choose transform
| | 01:27 | and the transformation of your choice
which in this case would be scale.
| | 01:32 | And now I am going to click on this paint layer what I am
calling the paint layer because it is real painted background
| | 01:39 | and I am going to merge it in with my face using a
blend mode and that blend mode will be the overlay mode.
| | 01:46 | We have seen this mode a couple of times before
now and it allows you to merge layers together,
| | 01:50 | it's particularly useful for merging a texture with
another layer because it keeps the highlights and shadows
| | 01:55 | from the active layer and lets the mid tones drop out.
| | 01:58 | So we are still seeing the mid tones and some of the
highlights and shadows in the MyFace layer as well.
| | 02:05 | Now the one problem of course is that you can see the boundaries
of the paint layer here, you can see the rectangular boundaries
| | 02:11 | of the layer and I just want to limit that
layer to the confines of the MyFace layer.
| | 02:17 | So I want to use the MyFace layer to clip the paint
layer and you do that by clicking on the paint layer,
| | 02:25 | going up to the layer menu and choosing Create Clipping
Mask or you can press the keyboard shortcut Ctrl Alt G
| | 02:31 | or Command Option G on the Mac if you prefer and that goes ahead
| | 02:34 | and clips the paint layer inside the confines
of my face and see the difference on screen.
| | 02:39 | This is before where we can see the entire
rectangular area of the paint layer and this is
| | 02:45 | after with the paint only falling in the confines of my face.
| | 02:49 | Alright now we need to make my face much oranger and we are
going to do that using this excellent coloring layer right here.
| | 02:55 | Can you believe how meticulous I
was in the creation of this layer?
| | 02:59 | Go ahead and turn the layer on and click on it to make it active
and all I have done here is I have used the lasso tool in order
| | 03:05 | to select an area that's larger than my face and I have filled it
with kind of a light orange color and then I used the brush tool
| | 03:11 | which is still active for me here and I painted in these
areas in front of my eyes and in front of my mouth with white.
| | 03:18 | That's all that's going on very crude artwork.
| | 03:23 | But actually it serves its goal very nicely as we will see.
| | 03:26 | So the first thing I am going to do is I am going to change
the blend mode associated with this layer from Normal.
| | 03:32 | Now you might think I choose the color mode because I want to
color my face but that ends up making my face look too homogenous
| | 03:38 | in terms of the coloring and just doesn't look right at all.
| | 03:42 | The mode that I am going to use instead is the multiply
mode which is sort of the magic marker mode in Photoshop,
| | 03:48 | it goes ahead and uses the colors inside
the layer to darken the layers below it.
| | 03:53 | Once again I need to clip this image into the MyFace mask because
I am creating a clipping mask here and I could do that by going
| | 04:02 | up to the layer menu and choosing Create Clipping Mask once again
| | 04:05 | or I will show you an alternative, I
go ahead and Escape out of that menu.
| | 04:08 | You can press and hold the Alt Key here
on the PC or the Option key on the Mac,
| | 04:13 | move your cursor over this horizontal
line inside the Layers palette and click.
| | 04:18 | So when you Alt Click or Option Click on a horizontal line
between two layers you combine them into a clipping mask.
| | 04:25 | So this guy joins the larger clipping
mask like so and both the color layer
| | 04:30 | and the paint layer are now clipped inside the
MyFace layer so that we have a halfway decent match
| | 04:35 | between my face and the rest of the painterly composition.
| | Collapse this transcript |
| Hair and stacking order| 00:01 | You know on second thought I think that I have overdone
it with the orange on my face here a little bit
| | 00:06 | so I am going to switch to my marquee tool here.
| | 00:09 | And I am going to change the opacity value
that's assigned to the coloring layer.
| | 00:13 | Let me make my layers piled a little wider so that we can
see what the name of the layer is it's called Coloring.
| | 00:19 | And I am going to press the 8 key
to reduce the opacity value to 80%.
| | 00:24 | Of course you can also scrub the value or click on this little
arrow and move the slider triangle or enter your own value
| | 00:30 | by just pressing a number key on the keyboard
when one of the selection tools is active.
| | 00:34 | It's by far the easiest way to change
the opacity of an active layer.
| | 00:40 | Alright so that looks a little better to me.
| | 00:41 | What still looks just of course terrible is the
fact that we have this big gap between my face
| | 00:47 | and where the hair starts inside St. Sebastian the background.
| | 00:51 | So it looks like he is wearing some
kind of Mission Impossible mask
| | 00:54 | which doesn't make any sense because he never saw the show right.
| | 00:58 | So we need to fill in that gap by adding
some more hair and I have got a couple
| | 01:02 | of hair layers towards the top of the stack here.
| | 01:04 | One is called hair extensions and one is called still more hair.
| | 01:08 | And you know what I feel like my thumbnails now that I am
trying to take in a lot of layers that we want so I feel
| | 01:12 | like these thumbnails are too big so I am going to bring up
my Palette menu once again, choose the palette options command
| | 01:19 | and switch to the midsized thumbnails here and then click OK.
| | 01:23 | This is better I think this will help me out.
| | 01:25 | Now I am going to turn on the hair extensions layer which fills
in the gap immediately in a fairly disturbing way it might seem.
| | 01:31 | What I did was I just kind of selected a
random portion of St. Sebastian's head,
| | 01:36 | I jumped that to a new layer and I applied the Liquify command.
| | 01:39 | I used the Liquify command which is a
fairly complicated function as it turns out.
| | 01:44 | Something that we are going to see in a later chapter but of
course and I used the Warp tool inside the Liquify dialog box
| | 01:51 | in order to mush his face inward so
that I had a lot more hair to work with.
| | 01:56 | But the hair extensions layer which I will
click on to make it active now is in front
| | 02:00 | of my face and it shouldn't be that way at all.
| | 02:02 | It should be behind my face.
| | 02:04 | And I can change the stacking order that is the order in which
the layers are stacked by dragging a layer up and down the stack.
| | 02:12 | So I could drag this layer down until it appears below my
face so that I get a dark horizontal bar below my face layer
| | 02:20 | and then release and that would move that layer
where it needs to be, other ways to move layers just
| | 02:25 | so you know so I went ahead and undid that modification.
| | 02:29 | Another way to move a layer is to press Control+Left Bracket
to move it down the stack or Control+Right Bracket to move it
| | 02:35 | up the stack, on the Macintosh side
that's Command left and right bracket.
| | 02:39 | Notice in doing this, I have managed to move the layer
into the clipping group like so but if I go ahead
| | 02:46 | and press Control Left Bracket three times in a row
I believe it will move hair extensions below my face
| | 02:53 | and back out of the clipping mask which is really great.
| | 02:56 | That's something that used to confuse Photoshop quite a bit.
| | 02:59 | Now it has no problems with that so that's nice.
| | 03:01 | Yet another way to work I will go ahead and undo that movement.
| | 03:04 | I am going to have to press Ctrl+Alt+Z a few times in
a row actually Command+Alt+Z on the Mac a few times
| | 03:09 | in a row to put hair extensions back where it was.
| | 03:12 | Another way to work is you can select multiple layers.
| | 03:14 | Let's say instead of moving hair extensions downward I want
to move my face upward I would go ahead and click on coloring
| | 03:21 | and Shift+Click on my face in order to select that entire range
| | 03:25 | of layers then I would press Control
Right Bracket to move the layers up.
| | 03:31 | All three layers up, one layer so that they
all go above the hair extensions layer.
| | 03:36 | Isn't that wonderful?
| | 03:37 | So again Ctrl left and right brackets on the
Macintosh side that's Command left and right bracket
| | 03:44 | in order to move layers down and up the stack.
| | 03:48 | Alright so now we have my face where it needs to be
above hair extensions we have covered up St. Sebastian
| | 03:53 | so that it doesn't look like he is
wearing a Mission Impossible mask anymore.
| | 03:57 | The one thing is that we have some pretty mushy hair detail
now and it would be nice if I wasn't wearing like this painted
| | 04:04 | on hair cap it would be better if I had a
few hair sort of blending in around my face.
| | 04:10 | So I created this fairly elaborate layer called still more hair.
| | 04:13 | I will go ahead and turn it on to see what that layer looks like.
| | 04:17 | And I painted this layer actually using a Wacom Tablet so
using a Stylus and Wacom Pressure Sensitive Tablet I painted
| | 04:25 | in this layer and this is a little more complicated, involves
artistic talent I suppose in order to do this kind of effect.
| | 04:32 | But I just, I did a lot of smearing
with the Smudge tool as it turns
| | 04:36 | out that's a tool that's available right
here this guy right there with a Smudge tool.
| | 04:40 | And also I did just some plain old painting in brown using
the Brush tool in order to fill out some of these regions.
| | 04:48 | But this is, once again this is the kind of thing that you can
do in Photoshop on an independent layer and the nice thing is now
| | 04:54 | that I can still move my layers around so for example if wanted
to get my Move tool and I clicked on my face and Shift+Clicked
| | 05:01 | on coloring to select an entire range of layers there then
I could move my face around behind the hair if I wanted to.
| | 05:10 | That would be a crazy thing to do.
| | 05:11 | I should move my hair as well.
| | 05:12 | So I will go ahead and click on still more hair and Shift+Click
on my face or another way you can do that by the way.
| | 05:18 | The reason I choose that route was because I clicked on
coloring and I Shift+Clicked on my face and then shift clicking
| | 05:25 | on still more hair would create a different selection range.
| | 05:29 | So if you have a range of selected layers already
defined like this and you want to add just one more
| | 05:34 | in the list whether it's adjacent or non-adjacent then you
press the Control key and click outside of the thumbnail.
| | 05:42 | So don't control click on the thumbnail
because that loads a selection.
| | 05:45 | Control Click or Command Click elsewhere on the layer out here
in sort of the empty area or above or below the layer name
| | 05:53 | and that will add it to the selection and
then I could drag these layers around in order
| | 05:57 | to move them independently of the rest of the image.
| | 06:00 | Of course I don't want to do that.
| | 06:01 | That looks terrible but still it shows you
how much flexibility you can afford yourself
| | 06:06 | by relying on the advantages of a layered composition.
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| Adding a frame and expanding the canvas| 00:00 | In this exercise we are going to add a frame around our
layer dark work and I have that frame right ready to go
| | 00:07 | for you it's called pictureframe.psd and it's
available to you inside the 13 Layers folder.
| | 00:13 | But first let's go back to Saint Sebastian the reason being
| | 00:16 | that Photoshop always introduces the
new layer in front of the active layer.
| | 00:21 | So for example if hair extensions was active and of course
you activate a layer by clicking on it and I were to drag
| | 00:27 | and drop the frame into the composition
at this point then the frame would appear
| | 00:32 | in front of hair extensions and behind my face.
| | 00:35 | So I really want to make sure the
top layer in the stack is active.
| | 00:38 | Let me show you a little trick here.
| | 00:40 | You can cycle from one layer to another by pressing Alt
on the PC or option on the Mac along with a bracket key
| | 00:47 | so Alt right bracket goes up the stack, Alt left bracket goes
down the stack and if you go down too far you will go back
| | 00:54 | to the top so both keyboard shortcuts
cycle all the way around the stack.
| | 00:59 | Alright so I am going to go ahead and cycle my way
however I get there to the very top layer in the stack.
| | 01:04 | Another cool thing by the way in case you are interested
if you hover your cursor over the Layers palette
| | 01:09 | and your mouse includes a scroll wheel then
you can use the scroll wheel to scroll up
| | 01:13 | and down the layer list, very handy in my opinion.
| | 01:17 | Alright anyway Still More Hair is active now
and I am going to go to the picture frame image.
| | 01:22 | I have still got my Move tool active and if you do then you
can just use the Move tool to drag the frame and Shift Drop it
| | 01:30 | into the SaintSebastian.psd image very important that
you Shift Drop it in the place so that it registers
| | 01:37 | so that Photoshop centers the frame
inside of this layer composition.
| | 01:42 | Now I am going to go ahead and press the F key a couple of
times to fill the screen with the image and you may notice
| | 01:47 | that the frame doesn't actually quite fit inside the canvas.
| | 01:50 | It's extending far outside the image and that's a
function of having a smaller canvas than the layer
| | 01:57 | and that's a beautiful thing about Photoshop is the visible size
of your image can be much smaller than the size of the layers.
| | 02:05 | Notice that the layer shows the entire frame because it
is really there and this is a function called big layer.
| | 02:11 | That's what it's actually called by the Adobe crew and it just
means a layer can be bigger than the image that houses it.
| | 02:17 | So how do we go about revealing this entire
frame so that we can see what's going on?
| | 02:22 | Two ways that you can scale the canvas to include the largest
element inside the image: you can go up to the image menu
| | 02:27 | and you can choose Reveal All and that's going
to make the canvas much bigger so that every bit
| | 02:33 | of every layer is visible inside the image window.
| | 02:36 | Alright so as I say that's one way to work.
| | 02:38 | A better way to work where this image is concerned because
notice that I have a lot of extra room at the bottom,
| | 02:43 | I just want to scale this image to exactly match the frame image
alright so I will undo that modification and my reasoning here
| | 02:50 | by the way is that the frame image is obviously the right size
already because it nicely houses the frame and I should be able
| | 02:58 | to scale the composition the Saint Sebastian
composition to match and sure enough I can.
| | 03:04 | You go up to the image menu and you choose the canvas size
command or you can press Ctrl Alt C or Command Option C
| | 03:11 | on the Mac and the canvas size command
allows you to either crop an image
| | 03:16 | or make it bigger or uncrop it to reveal more background.
| | 03:20 | So that's what we are going to be doing we
are going to reveal more background here.
| | 03:23 | Go ahead and choose the command and at this point I
could enter some numerical values, some specific values.
| | 03:29 | You will probably see the relative checkbox turned off so
you will see that the width and height of the image are 1001
| | 03:36 | and 1292 pixels respectively and you can
make those values bigger if you want to.
| | 03:41 | You could say with relative turned on you could say gosh
I want to make it 500 pixels wider than it is currently
| | 03:48 | and 400 pixels taller something along those lines or you can
exactly match the dimensions of another open image by going
| | 03:57 | up to the window menu and choosing that other image.
| | 03:59 | So I am going to choose the pictureframe.psd image from the
window menu and notice that Photoshop automatically goes ahead
| | 04:05 | and enters those new values and notice
it turns off Relative by default as well.
| | 04:11 | You can turn Relative back on to see oh it's only
1000 pixels bigger in both directions interesting.
| | 04:16 | Anyway doesn't matter how you work.
| | 04:18 | Go ahead and click OK after choosing the picture
frame document from inside the canvas size dialog box.
| | 04:24 | Now I am going to go ahead and zoom in here a little bit.
| | 04:27 | We can see the entire frame but it's not
exactly aligned with the image currently.
| | 04:32 | If you zoom in close to the image you will see that you have a
little bit of extra white edge over here on the right hand side
| | 04:38 | so what I want you to do is I want you to assuming that the
Move tool is active you just have to press the left arrow key
| | 04:44 | about 3 times I think 3 or 4 times in order to move that picture
frame over to the left and then if I were you I would go ahead
| | 04:51 | and check out the right side of the frame and
make sure that it matches up, okay it does.
| | 04:56 | I might also press the Up arrow key in order
to nudge the picture frame up slightly.
| | 05:01 | Then I am going to scroll upward to the other frame intersection
here in the navigator palette so that I can make sure
| | 05:08 | that this edge looks pretty darn good which it doesn't actually.
| | 05:12 | Look at that, it looks terrible so let's
go in and move that down a little bit
| | 05:16 | so that we are not revealing a bunch
of white at the top of the image.
| | 05:19 | And I am going to click at the bottom of the image just to make
sure that we are covering up what we need to because I don't want
| | 05:23 | to reveal that little weird hand
edge down at the bottom of the image.
| | 05:27 | Alright this looks good.
| | 05:29 | So anyway I am going to zoom out in order to take in more
of the image at a time and because the image is getting
| | 05:35 | so much larger I have to zoom out to the
25% zoom ratio on my screen at least.
| | 05:41 | That's the frame.
| | 05:42 | We manage to add the frame to the image and
expand the canvas to include this big old frame.
| | 05:48 | In the last exercise of this particular
project, we are going to add a vignette,
| | 05:53 | we are going to add a soft black
vignette around the entire composition.
| | 05:58 | Stay tuned.
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| Adding a vignette| 00:00 | Our last task in this project is to add a big dark vignette
around the entire frame and the image here and we are going to do
| | 00:08 | that by adding a new layer by creating a layer of
darkness essentially, a layer of faded blackness
| | 00:16 | and I want to add this layer on the very top of the stack
and that gives me the opportunity to show you yet another way
| | 00:22 | that you can switch layers here inside Photoshop.
| | 00:26 | Notice when I have got the Move tool active right here if I
were to right click inside of the face that I will see a list
| | 00:32 | of layers that intersect my right click position
and if you are working on a Macintosh computer
| | 00:38 | and you don't have a right mouse button then
you would Control Click with the Move tool.
| | 00:43 | If some other tool is active like let's say I have the Brush
tool active then you would Ctrl+Right Click here on the PC
| | 00:51 | or Command Right Click on the Mac and if you don't have a right
mouse button then you would Command Control Click on the Mac
| | 00:58 | and then choose whichever layer you want to make active so if
I choose my face it automatically becomes the active layer.
| | 01:05 | And the great thing about that is you can switch layers
very easily, very conveniently just by right clicking
| | 01:10 | with that Move tool or by Control or Command right clicking
with some other tool so long as you have taken the time
| | 01:17 | to name your layers because if you don't name your layers
then you are not going to know what layer it is that you want
| | 01:24 | to choose from the list because Photoshop is always
going to show you multiple layers to choose from,
| | 01:29 | at least one layer in the background layer as it turns out.
| | 01:33 | And this selects similar layers, it allows you to select
for example all pixel based layers or all text layers
| | 01:38 | or all vector shaped layers or all adjustment layers
or all smart objects that kind of thing all layers
| | 01:44 | that have a certain functional similarity to them.
| | 01:48 | Anyway in my case I just control right clicked on the
picture frame and I will now choose Frame in order
| | 01:53 | to make it active because it's the top layer in the stack.
| | 01:56 | Now I am going to go ahead and grab the elliptical
marquee tool because I am going to use this tool in order
| | 02:01 | to create my vignette but as I say I need to create the vignette
| | 02:04 | on an independent layer so I want
to add a layer to my composition.
| | 02:09 | I can do that in a few ways.
| | 02:11 | One is I can click on the Create New Layer icon here right
next to the trashcan at the bottom of the Layers palette.
| | 02:17 | If you do that however you are going to create
a generically named layer like this one here.
| | 02:21 | It's just going to be called Layer1.
| | 02:22 | I don't want that for the exact reason I just showed you.
| | 02:25 | Now if I press the Control key and right click there is a
chance that I am going to see Layer1 listed in the Pop-up menu
| | 02:31 | and I don't want to see Layer1 because I won't know what that
means so I want to make sure to name the layers as I make them
| | 02:37 | so I will undo the addition of the generic
Layer1 layer and instead if you want
| | 02:42 | to name a layer as you make it you have two options.
| | 02:44 | One is to Alt Click or Option Click on this little page icon.
| | 02:48 | That brings up the new layer dialog box.
| | 02:50 | The other way is you can take advantage of a keyboard shortcut.
| | 02:53 | This is the way I work anyway.
| | 02:55 | You can press Ctrl+Shift+N or Command+Shift+N
on the Mac for the new layer command.
| | 03:01 | Then go ahead and name this layer Vignette and press a Return
key or the Enter key in order to create this new Vignette layer.
| | 03:11 | Alright now we are ready to fill the
Vignette layer with a Vignette of course.
| | 03:15 | I am going to Alt Drag or Option Drag from the
approximate center of this painting outward and what I want
| | 03:21 | to have happen here I want the arcs, the
centers of the arcs of my elliptical marquee
| | 03:27 | to exactly intersect the corners of the interior of the frame.
| | 03:31 | Do you see what I am talking about?
| | 03:33 | So this would be the corner right there, one of the corners that
I am trying to intersect and I want to make sure all the corners
| | 03:38 | for that matter intersect the elliptical marquees so that
may mean a little bit of spacebar dragging on your part
| | 03:43 | but in any case keep that alt key down or that option key
| | 03:46 | down until you release the mouse button then you can release the
alter option key since we are dragging from the center outward.
| | 03:52 | Alright now we need to create a little bit of a feather here
so that we have a soft selection outline and we are going to do
| | 03:58 | that by up out the select menu, choosing
modify and choosing the feather command.
| | 04:03 | This is the first time we have gone here in this series
| | 04:06 | and notice inside Photoshop CS3 the Feather command has
been tucked into the modify sub-menu used to be loose.
| | 04:13 | Actually it used to be where refine edge is right
now and now it's been tucked away so anyway go ahead
| | 04:18 | and choose the Feather command or you can take
advantage of that keyboard shortcut there and I am going
| | 04:22 | to use a feather radius value of
30 pixels which I have pre-entered
| | 04:26 | and click OK in order to accept that modification now.
| | 04:29 | It's not going to look any different on screen
| | 04:30 | because the marching ends can't really
represent a soft edge selection outline.
| | 04:36 | Now I want to fill the area outside the selection, not the area
inside the selection so I am going to go up to the Select menu
| | 04:42 | and I am going to choose the Inverse command
to find the inverse of the current selection
| | 04:46 | so I am reversing the selection,
selecting the area outside the marquee.
| | 04:51 | This looks great.
| | 04:52 | I can tell that the right area is selected now because the
marching adds around the parameter of the image and I am going
| | 04:58 | to fill the selection with black, with the foreground
color and you can do that in one of two ways.
| | 05:04 | You can go up to the Edit menu and choose the Fill command.
| | 05:07 | This is a really tedious way in my opinion but you can
choose the Fill command and then you can say you want
| | 05:12 | to use foreground colors set to normal in 100% opacity.
| | 05:16 | Make sure Preserve Transparency is turned off and then you would
click OK in order to fill the selection with a foreground color.
| | 05:23 | Alright that may seem pretty straightforward.
| | 05:25 | I am going to undo that but there is such
an easier way to work and here it is.
| | 05:28 | All you got to do is press for the
foreground color you press Alt Backspace.
| | 05:33 | For the background color you press Control Backspace.
| | 05:37 | On the Macintosh side you would press
Option Delete for the foreground color
| | 05:42 | or you would press Control Delete for the background color.
| | 05:47 | I am going to go ahead and press Alt
Backspace because I am working on Windows here.
| | 05:50 | You Macintosh users press Option Delete in order
to fill the selection with the foreground color.
| | 05:55 | We are done my friends.
| | 05:56 | Go ahead and press Ctrl+D or Command+D on
the Mac in order to accept that modification.
| | 06:01 | This portrait was later set against a black background on a
webpage so it blended in perfectly with that black background.
| | 06:09 | It worked out just duckily.
| | 06:11 | If that is indeed an authentic adverb and in order to see
how wonderful this finished composition looks I am going
| | 06:18 | to change the piece board color to black by
switching to the Paint Bucket tool here and with black
| | 06:26 | as my foreground color I am going to
Shift Click inside the piece board.
| | 06:30 | Then I am going to tab away my palettetes.
| | 06:31 | I am going to press the F key to switch to the full screen
without Menu Bar Mode and I am going to press Ctrl+ a couple
| | 06:39 | of times so that we can take in the
image set against the black background.
| | 06:43 | This is the final composition substituting my face for that
| | 06:47 | of St. Sebastian's I now look officially
like I was painted by Rafael.
| | 06:52 | I feel very privileged in that regard.
| | 06:54 | Thanks to the monumental power of layers inside of Photoshop.
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|
|
14. Groups and Layer CompsOrganization: It sounds dull, but it rocks| 00:01 | This chapter is all about organizational tools. Things like
layer groups that let you combine layers into folders and
| | 00:07 | layer comps, which are...
| | 00:08 | Well, which are little more difficult to explain.
| | 00:11 | As you increase the complexity if your layered documents, you'll
find yourself experimenting with different compositional arrangements.
| | 00:18 | What if you move this layer over here? What if that layer were hidden?
| | 00:23 | What if we gave a third layer a drop shadow?
| | 00:25 | Sometimes the answers obvious the moment you give it a try.
Other times the answer alludes you until several steps or
| | 00:31 | even sessions later.
| | 00:32 | Photoshop's Layer Comps palette let you save the current
state of the document before you venture down an unclear path.
| | 00:39 | As long as you don't delete or merge any of the layers
in the same layer comp, you can restore the saved state
| | 00:44 | in it's entirety at a later date.
| | 00:47 | Layer comp states are actually saved as part of the PSD file on
your hard disk just like layers. This might seem all fairly obscure,
| | 00:56 | but it's actually fairly brilliant.
| | 00:58 | To learn how, what, where and why groups and layer comps are
so great, I invite you to emerge yourself in the following chapter.
| | Collapse this transcript |
| The terrible battle| 00:01 | In this chapter we are going to be building a fairly elaborate
layered composition and as we work we will try out a couple
| | 00:08 | of key organizational tools that Photoshop makes
available to you when you are working with layers.
| | 00:13 | The first is called Layer Groups and the second are
called Layer Comps, they are both very useful as it turns
| | 00:20 | out very practical tools but I find a lot of people don't know
about them even fairly advanced Photoshop users as it turns out.
| | 00:28 | Now I would like you to open this image
right here it's called terriblebattle.psd,
| | 00:31 | it's included inside the 14GroupsComps folder.
| | 00:36 | And this is a name it started shot at
the Denver Museum of Nature & Science.
| | 00:39 | It features a classic battle between some brittle
old Tyrannosaurus Rex and Stegosaurus Skeletons.
| | 00:46 | Now if you open this image on your system it's
possible you might get this message right here.
| | 00:51 | The idea is that this image contains a live text
layer and anytime you open a Photoshop image
| | 00:57 | with a live text layer there is always the chance
that Photoshop is going to want to update those layers
| | 01:03 | for vector output meaning for high resolution text output.
| | 01:07 | And the reason is that the Adobe team is constantly finessing the
Photoshop textension 1.12 even between versions as it turns out.
| | 01:14 | So you never know when this alert
message is going to come up on screen.
| | 01:18 | The only reason you would want to click No is if you didn't have
the fonts loaded on your system that I am using inside this file.
| | 01:24 | But it turns out I am using a font called Verdana
which is one of the most common fonts on earth,
| | 01:30 | it's included on every single recent version of the
Windows Operating System, it's included on the Mac
| | 01:35 | and so there is no reason not to click on update.
| | 01:38 | Things will just go more smoothly for you
if you click update and you might even want
| | 01:42 | to just say don't show again and update for all that.
| | 01:45 | I am going to turn that off just in case we come to it again.
| | 01:48 | Alright, so here we are inside of this fantastical composition.
| | 01:53 | It does contain a bunch of layers by the way, we just happen
to be seeing the background layer at this point of time.
| | 01:58 | Now the image is sufficiently large that I have
gone ahead and collapsed all my palettes icons here
| | 02:04 | and I want to show you really cool
thing about working with palette icons.
| | 02:09 | I am going to press the F7 key in order to spring up the
Layers palette out of this little Layers palette icon here.
| | 02:15 | You probably know that you can make this
palette larger by dragging down on the bottom
| | 02:20 | of this pane, this start pane that surrounds the palette.
| | 02:24 | You could also drag this lower right corner if you want to.
| | 02:27 | But did you know you can also drag up like
this so that the palette stretches to more
| | 02:33 | or less the full hide of your screen not quite but almost.
| | 02:36 | And that will be remembered so if I press F7 to
hide the palette and then press F7 again to bring
| | 02:42 | up the palette I have more room devoted to
the Layers palette this way than I would
| | 02:46 | if all of my palettes were visible on screen.
| | 02:49 | Isn't that totally awesome?
| | 02:50 | Yes, it is.
| | 02:51 | Alright, so let's take a look at the layers that
I have already created inside of this composition,
| | 02:58 | only one thing let's do that in the next exercise.
| | Collapse this transcript |
| Assembling the base composition| 00:00 | Now as I mentioned in the previous exercise,
| | 00:02 | we are working inside of an image called terriblebattle.psd
that's found inside the 14 Groups Comps folder
| | 00:09 | and this features an image that I shot in the Denver Museum
of Nature & Science and we are going to be building it
| | 00:15 | up into a layered composition or rather fantastical
composition that's going look like a still frame from live
| | 00:22 | and developing news coverage of two wicked
creatures locked in fierce battle with each other.
| | 00:28 | You know just an absolutely epic struggle covered on you know
DNN as it turns out the Dinosaur News Network with little
| | 00:35 | of zipper text along the bottom of the screen.
| | 00:37 | But before we do that we have to build up the base layers, I
am going to go ahead and press the F key in order to switch
| | 00:44 | to the Full Screen mode and move my composition over to the
left a little bit, so that I leave room for my Layers palette.
| | 00:51 | I will press the F7 key to bring up the Layers palette
and here are my base layers that we have to choose from.
| | 00:56 | So there are a lot of layers already going on inside of
this composition including, for example the Stretch Layer,
| | 01:02 | if you will go ahead and turn that one on for me.
| | 01:04 | And that's just a stretched version of the
Background Layer that's all that's going on with it.
| | 01:09 | And I made it just by selecting the Background Layer, pressing
Ctrl+J or Command-J on the Mac and then with that layer selected
| | 01:16 | that new Jump layer selected, I went up to the Edit menu,
| | 01:19 | I chose the Free Transform command, we
will see more from this command later.
| | 01:23 | And once I had entered the Free Transform mode, I just went
ahead and drag the side handles associated with the bounding box
| | 01:31 | for this image outward in order to stretch the
image horizontally, so not too much going on there.
| | 01:37 | So that's our Stretch Layer.
| | 01:39 | Now I want to point out something to you very, very
briefly, this is just little bit of a side note,
| | 01:43 | you can switch I was telling you this in the previous
chapter actually that you can switch between,
| | 01:49 | it turns out between visible layers inside of an image by
pressing Alt or Option on the Mac along with the bracket keys.
| | 01:56 | So for example, if I press Alt+Right Bracket over and over,
| | 02:00 | I will just keep cycling between these
two visible layers inside of this image.
| | 02:06 | Well what happens if only one layer is visible, I will go
ahead and turn off Stretch for a moment so that you can see.
| | 02:13 | Now if you press Alt+Right Bracket or Option right bracket
on the Mac, you will not only select different layers
| | 02:20 | but you will also make them visible by themselves, so this is a
way to just check out layers by themselves inside of an image.
| | 02:27 | So here I am pressing Alt+Right Bracket to go up
here, I am pressing Alt+Left Bracket to go down.
| | 02:32 | Just a little bit of FYI in case you are interested.
| | 02:36 | Anyway let's turn on Stretch, next I want you to turn on the Dark
Blur layer and this is an image, a completely unrelated image
| | 02:42 | that I shot and I blur the heck out of this
image, but I am not sure whether it's some grass
| | 02:49 | or whether it's some you know sea green element
or whether it's some painting that I put together
| | 02:55 | and then blurred I am really not sure what the history of it is,
| | 02:57 | I just forget as it turns out, because
I am addle minded you know.
| | 03:00 | But what's great about this is I can use it in order to enhance
the colors inside the stretch dinosaur image and I am going to do
| | 03:07 | that by going up to the Blend mode menu here in the Layers
Palette and switching from Normal to Difference, like so.
| | 03:15 | And what Difference does is it uses the colors inside of the
Dark Blur layer in order to invert the colors in the layers below
| | 03:23 | and white anywhere where the Dark Blur Layer is white.
| | 03:26 | It completely inverts all the colors below it and anywhere
where it's black, it doesn't invert the colors at all
| | 03:32 | and all the other intermediate colors
invert to intermediate degrees.
| | 03:36 | And as a result I will go ahead and sort of zoom in on some of
these elements in the skeleton of the Tyrannosaurus Rex here.
| | 03:44 | You can see that it makes a pretty big
difference in terms of what we can see,
| | 03:48 | so this is without the Dark Blur layer
and this is with the Dark Blur layer.
| | 03:51 | So it creates this wild highlight inside of the animal.
| | 03:55 | And down here it creates this interesting sort of fountain of
colors inside of what turns out to be the shadow on the wall,
| | 04:04 | the shadow that the great creature's skeleton is
casting on the wall here, so I think it's pretty nifty.
| | 04:09 | Anyway I just want to show you how it's working, I will go
and zoom back out here to the 50% zoom ratio and move things
| | 04:15 | over a little bit, so that we can see what's going on.
| | 04:17 | Finally at the top of these 4 layers that is
finally we have the blur dinos layer I will go ahead
| | 04:23 | and click on it as well as showing it to you.
| | 04:25 | And I created this layer by jumping the background
layer and moving it to the top of the stack
| | 04:30 | and applying the Gaussian Blur filter with a
radius of 12, so not too much going on there.
| | 04:35 | I want you to change the Blend Mode
assigned to the blur dinos layer to lighten,
| | 04:40 | so that we just keep the lighter
colors on a channel by channel basis.
| | 04:44 | And as I say we are going to devote an entire chapter to
Blend Modes, come and write up, but for now just go ahead
| | 04:50 | and choose the light mode then press the
Esc key if you are working on Windows
| | 04:53 | to make sure that the Lighten option is no longer active.
| | 04:56 | And then I want you to press the 5 key in order to
reduce the opacity value to 50% and this assumes
| | 05:02 | that you have one of the selection tools active here.
| | 05:05 | And that's another variation on the Captain Kirk-in
love effect I am not sure if he was ever you know,
| | 05:10 | if he ever took a fancy to smell dinosaur's skeletons
or not but if he was going to take a fancy to them,
| | 05:17 | this would be the shot that caused him to take a fancy to them.
| | 05:23 | Anyway so we have got a combination of these 4 Base layers,
| | 05:27 | working mostly together really actually the background layer is
being covered up, so it's just these 3 layers working together.
| | 05:33 | In the next exercise, we will add something called an Adjustment
layer to heighten the saturation inside of this composition
| | 05:39 | and then we will take our first look
at a layer group coming right up.
| | Collapse this transcript |
| Adding adjustment layers| 00:01 | Given this slightly supernatural nature of this composition,
I think that the colors are a little undersaturated.
| | 00:07 | So what I would like to do is boost the
saturation of the composition as a whole.
| | 00:13 | Now, as you may recall, you can boost the saturation of a
single image by going up to the Image menu, choosing Adjustments
| | 00:22 | and choosing the Hue/Saturation command,
but that affects just one layer at a time.
| | 00:27 | What if you want to increase the saturation of an
entire composition, entire layered composition?
| | 00:34 | Well, in that case, you need to add an Adjustment layer.
| | 00:38 | So go down to the bottom of the Layers pallet, click on
this little black white icon right there and then go ahead
| | 00:43 | and choose Hue/Saturation from this popup menu
and click on the Saturation option right there.
| | 00:49 | Let's go ahead and press Shift+Up arrow three times
in a row to take the saturation value up to 30%
| | 00:55 | and that of course delivers some much more of vivid colors.
| | 00:59 | Click OK in order to accept that modification,
and you can see that this now an independent layer
| | 01:05 | of color adjustment that affects all layers below it.
| | 01:09 | Now, what we have here to identify this layer is a little
thumbnail that looks sort of like a gradient film that indicates
| | 01:15 | that this is a Hue/Saturation layer as it turns out.
| | 01:18 | So that little gray area is supposed to represent the
full color spectrum just in grayscale, don't you know?
| | 01:24 | And then to the right of it, we have a black layer mask.
| | 01:28 | Well, in our case, we don't need the layer mask.
| | 01:29 | Reduce the layer mask if we wanted it, to limit
the area that's affected by the Adjustment layer
| | 01:35 | by painting some of the layer mask black, for example.
| | 01:38 | But, in our case, we don't need that.
| | 01:40 | Let's go ahead and get rid of that layer mask.
| | 01:42 | And the easiest way to get rid of a layer mask just to delete
it, so that you have more room in order to see the layer name
| | 01:47 | for example is to press the Alt key or the Option key on the
Mac and click on the Trash Can icon, and that will go ahead
| | 01:54 | and delete that layer mask because the
layer mask was the portion of the layer
| | 01:58 | that was selected, it had the heavy rectangle around it.
| | 02:01 | Now, I will go ahead and double-click on this layer name here and
call it Boost Sat, just so that I know it's a saturation booster.
| | 02:10 | Now, above this saturation booster right here,
we have this folder that's called Adjustments,
| | 02:16 | and this folder indicates a layer group as it turns out, meaning
a group of other layers that are just sort of grouped together
| | 02:24 | so that they take less room inside the Layers palette.
| | 02:27 | If you want to see that group of layers, go ahead and twirl it
open by clicking on this little twirly triangle right there.
| | 02:34 | Then, I invite you to click in front of the
Adjustments item to turn on its eyeball.
| | 02:39 | Now, sometimes, that will go ahead and turn
on all the layers inside of the group as well.
| | 02:45 | But in this case, it didn't because
the individual layers were hidden.
| | 02:49 | So I need to turn them on one by
one by clicking in front of them,
| | 02:52 | and notice that each one of these items
is an independent Adjustment layer.
| | 02:57 | This guy, this little thumbnail,
indicates the Levels Adjustment layer.
| | 03:01 | This one indicates a Gradient Map Adjustment layer.
| | 03:04 | We haven't seen that yet, we will see that later actually.
| | 03:07 | And this one indicates another Hue/Saturation Adjustment layer.
| | 03:11 | So I will turn on dimmer which dims down the
image according to the levels adjustment.
| | 03:15 | And if you want to see the specific settings assigned to
that Adjustment layer, all you have to do is double-click
| | 03:21 | on the thumbnail, and that will bring up the dialog box and
you can see that I didn't do anything to the input levels
| | 03:26 | but I took the white value in the output levels and I dimmed it
down in order to create a dimmer effect right here, interesting.
| | 03:35 | Alright, so I will cancel out of this dialog box.
| | 03:37 | I don't need to change it, but if I want
to, I could, I could make changes inside
| | 03:40 | that dialog box and update the image dynamically.
| | 03:44 | Really cool thing about Adjustment layers,
and we will by the way spend an entire chapter
| | 03:49 | with Adjustment layers later on in the series.
| | 03:51 | Alright, now, I am going to turn on the Duotone layer which
goes ahead and assigns a sort of red color throughout the image.
| | 04:00 | So it gets rid of the previous colors that we
were seeing and replaces them with this red.
| | 04:05 | And then, I have got another layer that goes
ahead and colorizes the whole thing green.
| | 04:09 | Now, let's say I want to take this Boost Sat layer here and
make it part of the Adjustments group, how would I do that?
| | 04:16 | Well, I just go ahead and drag it and drop it onto the group.
| | 04:21 | So if I drop it on to the folder icon like this, then the
Boost Sat layer will appear at the bottom of the group like so.
| | 04:28 | What if I want to put it elsewhere in the group?
| | 04:30 | Well, I'll go ahead and undo that modification.
| | 04:32 | You just have to drag it and drop it where you want it to
be, like I could drop it there or I could drop it there.
| | 04:37 | If I want it to be at the top of the stack, I would go
ahead and drag it at the top of the stack like that.
| | 04:42 | So your options are boundless.
| | 04:44 | Let's go ahead and put it at the top of the stack incidentally
and then you can go ahead and twirl your folder close in order
| | 04:50 | to keep all of your adjustments tidy inside of this little group.
| | Collapse this transcript |
| Creating a layer group| 00:01 | Now, what if you want to create your
own layer group inside Photoshop?
| | 00:05 | Easiest pie as it turns out.
| | 00:06 | I already have the Adjustments layer
group selected inside my Layers palette.
| | 00:11 | If I go down to the bottom of the layers
palette, I will find a folder icon.
| | 00:15 | And if you hover over it, it says "create new group."
| | 00:18 | If you click on it, you will create a new group
in front of the previously selected layer item.
| | 00:24 | So whatever we selected before, your
group will appear on top of it.
| | 00:28 | Alright, I am going to go ahead and undo that medication so
that I can show you a few other options available to you.
| | 00:33 | If you press and hold the Ctrl key or the
Command key on the Mac and click on this icon,
| | 00:39 | you will create a new group below
the previously selected layer item.
| | 00:43 | I will go ahead and undo that modification as well.
| | 00:45 | And by the way, that little Ctrl/Command
key trick works with a new layer.
| | 00:50 | So if you press the Ctrl key or the Command key
on the Mac, and click on the new layer icon,
| | 00:55 | you create a new layer below the previously selected item.
| | 00:58 | Alright, I am going to undo that as well.
| | 01:00 | What else can you do?
| | 01:01 | Well, if you press and hold the Alt key or the
Option key on the Mac and click on the folder icon,
| | 01:07 | then you will be invited to name the folder as you make it.
| | 01:10 | Alright, I am going to escape out of that
so I can show you one last keyboard trick.
| | 01:15 | If you press Ctrl and Alt on the PC or Command and Option
on the Mac, and click on the folder icon, then of course,
| | 01:23 | you will once again be invited to name this group,
and I am going to call mine Dinosaurs, click OK.
| | 01:28 | And notice where it appears, below
the previously selected layer item.
| | 01:33 | So that's the function of pressing Ctrl and Alt or Command
and Option on the Mac as you click on this little group icon.
| | 01:41 | I am just passing along these keyboard tricks in case you
are interested, I know many people, this will be too much;
| | 01:47 | but for many other people, it will be like oh
yeah, I have more keyboard tricks, that's great.
| | 01:52 | Alright anyway, let's go ahead and move a
couple of items into the Dinosaurs group now.
| | 01:57 | I will go ahead and drag blur Dinos and drop it on the
folder icon in order to put that layer inside the group.
| | 02:02 | Then I will drag dark blur and drop it on the folder icon, and
it will appear at the bottom of the Dinosaurs group as well.
| | 02:10 | Alright, so that's how you make a
new group and put stuff inside of it.
| | 02:14 | What if you want to improve a bunch of
selected items inside the Layers palette?
| | 02:18 | Well, then, you will want to watch my next exercise.
| | Collapse this transcript |
| Grouping selected layers| 00:00 | Now, let's say that you want to create a group
and put layers inside of it at the same time.
| | 00:06 | Well, you start off by selecting the items that you
want to put in the group and I am going to start
| | 00:10 | by selecting the Stretch layer right here by clicking on
it, and I could also Shift-click on the Background layer
| | 00:18 | but I can't add the Background layer to a group.
| | 00:21 | Notice by the way, the Background layer has a little
lock icon next to it and that demonstrates to you
| | 00:25 | that there is not a lot you can do with the Background
layer, it is a fixed layer at the back of a stack,
| | 00:30 | you can convert it to an independent layer if you want to.
| | 00:32 | But so long, as it remains the Background
layer, by definition, it is flat and independent
| | 00:38 | of all layers inside the document, and you can't group it either.
| | 00:42 | Anyway, I am going to go ahead and Ctrl-click
on that layer in order to deselect it.
| | 00:47 | So I've just got the Stretch layer selected at the moment
and then I am going to Shift-click on the Adjustments group.
| | 00:53 | And that's right, you can group not only
layers, but you can group groups as well,
| | 00:58 | so you can have up to five groups deep inside of a composition.
| | 01:04 | So nested groups, groups inside groups inside groups,
totally up to you if you want to work that way by the way.
| | 01:10 | Alright, so I have selected this
bunch of layers and groups right here.
| | 01:15 | I would now go up to the Layers palette menu
and I would choose new group from Layers.
| | 01:20 | That would bring up this naming dialog box
and I would go ahead and call this group,
| | 01:24 | Uber group and click OK in order to manufacture the new group.
| | 01:28 | And notice, right off the bat, it's
got the other stuff inside of it.
| | 01:32 | So it's got the Adjustments group, the Dinosaurs group and
the Stretch group all contained inside of this Uber group.
| | 01:38 | Now, a command that useful must have a keyboard shortcut, but if
you look at it, it doesn't look like it has a keyboard shortcut.
| | 01:44 | There is no shortcut listed.
| | 01:46 | In fact, it's something of a hidden shortcut as it turns out.
| | 01:49 | It's listed in the Layers menu, but it's
not listed here, and this is what you do.
| | 01:53 | Go ahead and press Ctrl+Z or Command+Z on the Mac to undo that
operation just so that we can try out this alternative here.
| | 02:00 | And then, with all of these groups and layers selected here,
press Ctrl+G or Command=G on the Mac, that's all there is to it,
| | 02:08 | Ctrl+G, Command+G goes ahead and groups those
selected items in the Layers palette into a new group.
| | 02:15 | And by the way, if you go to Layer menu, you can see
this keyboard shortcut right there, group layers,
| | 02:20 | and there is another keyboard shortcut that allows you to ungroup
layers which is Ctrl+Shift+G or Command+Shift+G on the Mac.
| | 02:27 | Alright, let's go ahead and rename
this layer, that's the downside,
| | 02:30 | so it doesn't bring up that naming dialog box at the same time.
| | 02:34 | And normally, you could force the dialog box to come up on screen
by pressing Alt or Option key, so like you press Ctrl+Alt+G
| | 02:42 | or Command+Option+G but that does not work as it turns out.
| | 02:45 | That gives you a clipping mask instead, just one of those things.
| | 02:48 | So I am just trying to anticipate any questions you
might have because I can't hear you very well from here.
| | 02:53 | That is how you make groups inside a Photoshop.
| | 02:56 | Is that not awesome?
| | 02:57 | Very tidy, handy, little tool available
to you inside of the program.
| | 03:03 | In the next exercise, we are going to
start building up some of the TV elements,
| | 03:07 | including the interlacing lines that make TV so very enjoyable.
| | Collapse this transcript |
| Making the TV lines| 00:00 | Now it's time to make the interlace TV lines, the
alternating horizontal lines that identify a television
| | 00:08 | as being a hooky device from the past as it turns out.
| | 00:12 | Anyway notice right here inside the Layers palette, there
is a layer called Orig Line that's the original line upon
| | 00:19 | which we are going to base our interlacing lines.
| | 00:22 | I want you to press the Alt key or the Option key on
the Mac and click the Eyeball in front of this layer
| | 00:27 | so that we are seeing only this layer
and nothing else inside the composition.
| | 00:32 | Then I want you to zoom into this image, quite
a bit actually you want to zoom pretty far in.
| | 00:37 | So that we can see this 3 pixel tall line as it turns
out, go ahead and get your rectangular marquee tool here.
| | 00:44 | And then start dragging right at the top of the
line like this and notice it's 1, 2, 3 pixels tall.
| | 00:51 | So I want you to move your cursor 1, 2, 3 more pixels down so
that you get 3 pixels worth of green line and 3 pixels worth
| | 01:00 | of transparency that checkerboard pattern by the
way indicates the transparent portion of the layer.
| | 01:05 | Now don't worry about the fact that I haven't and you don't
need to either, I haven't selected the entire width of the line.
| | 01:12 | It's only important that you get just a little
bit of it, any width will do as it turns out.
| | 01:16 | The height is the more important element.
| | 01:18 | So as I say you want to make sure that you select all the
line height wise and 3 pixels below it and just to confirm
| | 01:25 | that your Selection Outline is exactly 6 pixels
tall, I would like you to bring up the Info Palette.
| | 01:31 | And for me I am going to click on this little
(i) icon here on the right side of my screen,
| | 01:36 | you could also choose the Info Command
from the Window menu or press the F8 key.
| | 01:41 | And then notice you will see a W and H value, the W value
being the width of your selection, you don't care about that
| | 01:47 | as it turns out and height value being the height of the
selection, and that should be 6 pixels that's very important.
| | 01:54 | Alright so once you have gotten the
selection outline the right size,
| | 01:57 | go ahead and press the F8 key in order to hide the Info Palette.
| | 02:00 | Then I am going to go up to the Edit menu and I am
going to choose this command right here Define Pattern
| | 02:06 | which will define the selection as a repeating pattern.
| | 02:10 | And I will call this pattern interlacing
and click OK in order to accept it.
| | 02:15 | Now then let's go ahead and zoom back out or zoom
way too far in for this next step as it turns out.
| | 02:20 | Where are we inside this image?
| | 02:21 | Oh it's so easy to get confused.
| | 02:24 | Now then let's go back to the Layers
Palette, bring it back up on screen
| | 02:27 | and press the Alter Option key and click on that eyeball again.
| | 02:31 | That's the simplest way to make that line disappear on screen
| | 02:35 | and to make the other items come back
on screen then this is very important.
| | 02:40 | Press Ctrl+D or Command+D on the Mac in
order to deselect that little tiny selection
| | 02:47 | that you had going there inside of the image.
| | 02:49 | Now I want you to click on Uber group, on the Uber group,
group that you have made Uber group folder and I want you to go
| | 02:57 | down to the black white icon at the
bottom of the palette which allows you
| | 03:01 | to choose adjustment layers as well
as dynamic fill layers like pattern.
| | 03:05 | Go ahead and choose the pattern layer in this case and I want
you to make sure that you have the proper pattern selected.
| | 03:11 | It should go ahead in default to the last pattern you
just created but if not go ahead and click on this
| | 03:16 | down pointing arrow head and then click on this guy right
here interlacing which will show you that it's something
| | 03:21 | by 6 pixels RGB mode and it's okay to go ahead
and scale it to 100% that's actually really good.
| | 03:26 | Then click OK in order to create those new lines.
| | 03:31 | Finally I recommend you go ahead and throw away this layer mask.
| | 03:34 | It's just cluttering up the palette my pressing the Alt key or
the Option key on the Mac and clicking on the trashcan icon.
| | 03:41 | Now let's go ahead and name this layer Interlacing just
for the sake of consistency here and then I am going
| | 03:47 | to change the blend mode that's assigned to this interlacing
effect to overlay, a good old friend overlay here so click
| | 03:54 | on Normal and choose Overlay from the Blend Mode Pop-Up menu
like this and we end up getting this wonderful television effect.
| | 04:02 | Could that not be more TV like?
| | 04:04 | I don't think so.
| | 04:06 | In our next exercise we are going to add the little zipper
text across the bottom of the screen and we will start
| | 04:11 | to get a taste for layercomps inside Photoshop.
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| Introducing layer comps| 00:00 | In this exercise we are going to get our first
taste for how layer comps function inside Photoshop.
| | 00:06 | I am going to start things off by adding the zipper along the
bottom of the screen and I am going to do that by clicking
| | 00:11 | on the bar layer that is clicking the eyeball in front of bar
layer in order to turn it on so we can see it and clicking
| | 00:17 | in front of the face-off layer as well and it reads
DNN Live this is of course Dinosaur National News.
| | 00:24 | That's the ticker that would sort of go by at the
bottom of the screen were this a live video feed.
| | 00:29 | Now I like this greenish cast that I have got assigned
to the image currently because it invokes a certain sort
| | 00:35 | of retro TV sort of retro computer field as well, has a
combination of worst of TV and worst of DOS effect going here.
| | 00:44 | But then I thought well maybe it would
be cool to make it all red like blood.
| | 00:48 | So I added this reddish layer at the top of the stack another
hue/saturation layer the idea being that it's just easier to heap
| | 00:55 | on more adjustment layers as opposed
to go back and edit the previous ones.
| | 00:59 | And if I feel like the effect at this point is a little hyper
saturated thanks to the fact that I added that Boost Sat Layer
| | 01:06 | that saturation booster layer a few exercises
ago that I could compensate by double clicking
| | 01:11 | on this thumbnail right here to bring
up the hue/saturation dialog box.
| | 01:15 | Then I click inside that saturation value and press
Shift Down arrow a couple of times in order to reduce
| | 01:21 | that saturation to plus 20% as opposed to plus 40%.
| | 01:25 | Now I am going to Click OK in order to accept that modification.
| | 01:28 | Now at this point let's say I am just not sure.
| | 01:31 | I am not sure if I want the composition to look red or green
or if I want the zipper to be at the bottom of the screen
| | 01:38 | or at the top of the screen and as it turns out
you can save layered states inside of a composition
| | 01:46 | from the layers comps palette, you can save which layers
are visible, you can save the blend modes that are assigned
| | 01:52 | to different layers, you can save the opacity values, you can
save the layer effects like drop shadows and glows and so on
| | 01:58 | and you can save the position of layers as well.
| | 02:01 | So I can say whether the zipper is at the bottom of the
screen or the top of the screen all using layer comps,
| | 02:07 | they are so great as it turns out and I have
already created a few of them in advance for you.
| | 02:12 | I am going to go up to the Window menu and I
am going to choose the layer comps command,
| | 02:16 | you can also get to it by pressing Alt F7 or Option
F7 on the Mac if you loaded my Deke keys shortcuts.
| | 02:23 | And for me that's going to display the layer comps palette
in a new doc here behind the Layers palette and I am going
| | 02:30 | to hide the Layers palette for a moment and
sort of mess with the layers comps palette
| | 02:34 | so that it becomes part of this second column of icons.
| | 02:38 | And I am going to do that by dragging the grey sort of
empty title bar above the word layer comps and I am going
| | 02:44 | to drag this item over so that I see a tiny blue horizontal strip
right there at the top of the second column and then I am going
| | 02:52 | to release and it goes ahead and adds this little
page icon right there that indicates layer comps.
| | 02:58 | Now I am going to go ahead and expand this doc so
that we can see all of the palettes at the same time.
| | 03:04 | And I might make the layer comps
palette a little taller like this here.
| | 03:08 | Alright so you notice that I have got three layer comps
altogether and at their simplest layer comps allow you to save
| | 03:15 | which layers are visible and which layers are turned off.
| | 03:20 | And if you do nothing more than that with
them they are still very powerful tools.
| | 03:24 | Alright I am going to bring the Layers palette back up on
screen at the same time here and I am going to scale it
| | 03:29 | down a little bit so that we can still see the layer comps at
the same time and I am going to go ahead and twirl open my group
| | 03:36 | so that we can see all these groups toward
the bottom of the palette actually I am going
| | 03:40 | to make the palette a little taller so that we can see everybody.
| | 03:43 | Alright let's start with the base layer.
| | 03:44 | Now clicking on one of these layer comps
doesn't in an of itself do anything.
| | 03:49 | If you want to switch to a layer comp you have to click in front
of it in order to switch the placement of that little page icon.
| | 03:55 | So I will click in front of base layer and notice that
Photoshop goes ahead and turns off every single layer.
| | 04:01 | Some of the layer groups are still turned on but the
layers inside of the groups are turned off to some extent
| | 04:07 | or other so that the only layer that's visible is the
background layer when we are working with this comp.
| | 04:13 | If you click in front of Stretch, that
also turns on the stretch layer down here.
| | 04:18 | And then finally if I click on white type, I will
click in front of white type that is, I will go ahead
| | 04:23 | and turn on several layers inside of the composition
including the bar layer and the face-off those two layers
| | 04:30 | that represent the zipper at the bottom of the screen.
| | 04:33 | Some things though are getting a little less.
| | 04:35 | For example remember that boost sat layer, I was referring it to
just a moment ago, we created that layer inside of this chapter
| | 04:42 | and if you double click on it you may
recall that it boosted the saturation to 30%
| | 04:47 | so it raised the saturation of the entire composition.
| | 04:51 | Well we have created this layer since
I created the white type layer comps.
| | 04:56 | So the white type layer comp can't be expected
to have any knowledge of this boost sat layer.
| | 05:02 | So here's what I am going to do.
| | 05:03 | Notice that right now the page icon
appears in front of white type.
| | 05:06 | As soon as I turn on boost sat, the page
icon moves to last document state showing us
| | 05:13 | that this layer composition has not been saved.
| | 05:16 | So this is an unsaved custom layer
state at the present moment in time.
| | 05:21 | If we want to go ahead and save it then I would go ahead
and close Layers palette just to get it out of the way here.
| | 05:28 | I would make sure that white type is selected and then I would
move to the bottom of the palette to this double arrow going
| | 05:33 | in a circle icon which allows me to update the layer comp.
| | 05:37 | I would click, nothing happens, it doesn't turn on or
off any new layers all it does is it updates white type
| | 05:43 | to represent this layer state including the
recently added boost sat adjustment layer.
| | Collapse this transcript |
| Saving your own layer comps| 00:00 | Alright, now let's go ahead and create a
couple of custom layer comps of our own.
| | 00:04 | I am going to go ahead and twirl close these folders
that I have got open here, these layer groups,
| | 00:10 | so that we save a little room inside the Layers
palette and I am going to turn on the Interlacing layer
| | 00:15 | which conveys those TV lines and I am
also going to turn on the Reddish layer
| | 00:19 | so that we have the nice blood red
action going here inside the composition.
| | 00:24 | Now, how do we go about saving this as a layer comp?
| | 00:26 | Well. let's hide the Layers palette from view by pressing
the F7 key so that I can get to the Layer Comps palette.
| | 00:32 | Notice, of course, that the page icon now appears
in front of last document state indicating
| | 00:37 | that we have a custom state that has not been saved yet.
| | 00:40 | And we can save that state by clicking on the little new icon,
| | 00:43 | the little page icon here at the
bottom of the Layer Comps palette.
| | 00:47 | Notice, that brings up the New Layer Comp dialog box.
| | 00:50 | So this time around, whereas in order to
display a dialog box in the Layer palette,
| | 00:53 | you have to Alt-click or Option-click the little page icon.
| | 00:57 | Here just clicking the little page icon displays the
dialog box and allows you to name the new layer comp.
| | 01:03 | If you were to Alt or Option-click,
you would skip this dialog box.
| | 01:07 | It's another one of those cases of when in
doubt, press Alt or Option here inside Photoshop,
| | 01:12 | it always changes the behavior of something or other.
| | 01:15 | Anyway, I am going to go ahead and
name this layer comp Red Version.
| | 01:20 | Now, I want to direct your attention
to these three checkboxes right here.
| | 01:23 | It says apply two layers, visibility position and/or appearance.
| | 01:28 | What this means is you are going to save certain attributes
that have been assigned to the layers along with this layer comp
| | 01:33 | and you need to decide which ones you are going to save.
| | 01:35 | Now, when in doubt, I suggest you turn all of them on
and that's what I am going to have you do in this case.
| | 01:40 | But what they mean is this visibility determines which
layers are visible and which layers are invisible,
| | 01:45 | so it's all about those eyeballs inside the Layers palette.
| | 01:48 | Position is where the layers are located
vertically and horizontally inside of the image.
| | 01:54 | It doesn't have any effect on stacking order.
| | 01:58 | Alright, so none of these options
control stacking orders, it turns out,
| | 02:02 | the layers are always stacked the way you last left them.
| | 02:05 | And then finally, we have appearance which
is the Blend mode and the opacity value
| | 02:10 | and the layer effects such as drop shadow and glow and so on.
| | 02:14 | You can also enter a comment, if you want to, just to
remind yourself why you made this comp in the first place.
| | 02:19 | I am not going to worry about that in this case, I am just
going to click on OK in order in order to create that new comp.
| | 02:25 | And now, I can switch between the comps.
| | 02:27 | I can see the stretch version of the image.
| | 02:29 | I can see the version of the image that appears
green and has white type in front of it,
| | 02:34 | and then I can switch to the red version of the image as well.
| | 02:37 | Now, let's say gosh, I am wondering
what this composition is going to look
| | 02:41 | like if the zipper text is at the top of the image window.
| | 02:45 | So let's go ahead and return to the Layers palette here.
| | 02:48 | Here is the face-off text and here is the bar, they go together.
| | 02:52 | Of course now, the first thing I need to do is I am going to
click this little down-pointing arrowhead on the right side
| | 02:59 | of the face-off layer in order to twirl it open so that we
can see the effects that have been applied to this layer.
| | 03:05 | Now, currently, the effects are hidden, hence it's little
dimmed eyeball and no eyeball in front of the word effects.
| | 03:11 | And if I click in front of effects or if I were to click on
that dimmed eyeball either way, I would create a dark sort
| | 03:17 | of a dark glow in the background here,
even though it's called outer glow
| | 03:21 | and by default, outer glows are sparkly they are light.
| | 03:25 | They can be dark.
| | 03:27 | Layer effects are quite flexible as it turns out.
| | 03:29 | And I've got a dark glow assigned to this text.
| | 03:32 | And you can see that glow darkening up the background here.
| | 03:36 | Alright, now, I am going to twirl
that close down I've turned it on.
| | 03:39 | And I am going to grab the bar layer as well by
Ctrl-clicking on it although strictly speaking,
| | 03:45 | that's not necessary because I've
already linked these two layers together.
| | 03:48 | Notice that they've got little chain icons next to them.
| | 03:51 | This is an old way of working inside Photoshop as it turns out.
| | 03:55 | Inside Photoshop CS and earlier, you had to link
layers together in order to move them together.
| | 04:02 | Whether or not you weren't linking on is a function of this
little link icon down here at the bottom of the Layers palette.
| | 04:08 | I am mostly just telling folks who've used previous versions
of Photoshop and have gotten in their habit of using
| | 04:14 | of layer linking, I am wondering
where it's gone, it's right here.
| | 04:17 | It's not strictly speaking necessary though as I say and
I am going to turn it off because both layers are active.
| | 04:22 | I am now going to press and hold the Ctrl key here on the PC
or the Command key on the Mac in order to get my Move tool
| | 04:29 | on the fly here and I am going to drag at this text
along with the bar up to the top of the screen,
| | 04:34 | and it should more or less snap into position here.
| | 04:37 | And by the way, I am also pressing the Shift key in order
to ensure that I have an exclusively vertical drag going,
| | 04:44 | so I am moving the text upward only
and not to the right or to the left.
| | 04:48 | And I will go ahead and release the Mouse button and then release
the Ctrl and Shift keys or the Command and Shift keys on the Mac.
| | 04:54 | Alright, now I am going to click on the bar layer by itself
and move it upward a little bit by pressing Ctrl+Shift
| | 05:00 | or Command+Shift up arrow about four times in row.
| | 05:04 | You may need to take it down a little
bit from there, something like that.
| | 05:07 | So at any rate, I am just moving this text
to the top of the screen as zipper text
| | 05:11 | and it should align nice and tight to the corner up there.
| | 05:15 | Alright, let's just go ahead and save this
out so we can see what its looks like.
| | 05:18 | I will go ahead and close the Layers palette from
View here, hide it from View and then I will create
| | 05:23 | yet another new Layer Comp and I
will call this one Final Version.
| | 05:28 | And I do want to save visibility position
and appearance, all those attributes.
| | 05:32 | A position will save the fact that the texts at
the top of the screen as well as the bar of course.
| | 05:37 | Appearance will save the fact that
I turned on that outer glow effect
| | 05:43 | that appears behind the text and darkens the top of the screen.
| | 05:46 | I'll click OK in order to accept that modification.
| | 05:48 | Just to make sure that all my Layer Comps are in order, I
am going to move them so I am going to move the Red Version
| | 05:55 | to the top and then Final Version even above that like so because
I was creating these Layer Comps in opposite order starting
| | 06:03 | with the oldest one at the bottom and the newest one at the top.
| | 06:06 | Now, check this out, you can use these little arrow
icons to flit back and forth between the comps.
| | 06:12 | So I am going to start at Base Layer here, then I am going to
click the left arrow to advance to stretch and then to white type
| | 06:20 | and then to Red Version with the text of the bottom of the screen
without the layer effect and then to Final Version with the text
| | 06:26 | at the top of the screen and with the layer effect.
| | 06:29 | It's amazing what you can do with
Layer Comps inside of Photoshop.
| | 06:34 | It really will, given time, change
the way you work inside Photoshop.
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| Final footnotes| 00:00 | Two last footnotes that I would like to
mention before we put this chapter to bed
| | 00:04 | and those are merging layers and saving the layer composition.
| | 00:09 | Both of these items affect layer comps as it turns out.
| | 00:13 | I am going to go ahead and bring up the Layers palette,
so that we can see it here and I am still working
| | 00:18 | of course inside the terriblebattle.psd image though I
have to admit, I have made several modifications to it.
| | 00:24 | We have added a few layers and we
have added some layercomps as well.
| | 00:28 | Working along inside of this image, I am going to go down to
my uber group folder here, that contains the adjustments group
| | 00:33 | and the dinosaurs group and the loose stretched
layer and I am going to click on a stretched layer.
| | 00:39 | I want to take it out of the uber group.
| | 00:41 | Notice, that it's a little indented to show
me that it's part of the uber group right now.
| | 00:44 | I am going to press Ctrl+Shift+Left Bracket or Command+Shift+Left
Bracket on the Mac to move it out of that group.
| | 00:52 | It no longer appears indented inside the
palette and if I were to close the group,
| | 00:56 | I would still see the stretched layer right there.
| | 00:59 | Alright, now let's say I want to merge the
stretched layer with the background layer.
| | 01:03 | After all this is an entirely opaque layer, therefore the
background layer is not contributing to my composition one iota
| | 01:11 | and one might argue that it's distracting from my composition
because after all it's making the image more complicated,
| | 01:17 | it's making the image take up more
room in memory and so on and so on.
| | 01:20 | So Photoshop's computations will be slightly slower, the printing
might be slightly slower, the saving process might be slower.
| | 01:27 | If you don't need layers, if you are absolutely not going to
use them, you might as well get rid of them in one way or other
| | 01:33 | and the simplest way to get rid of them is to merge the layers.
| | 01:36 | If you bring up the Layers palette menu, you will notice
towards the bottom of the menu three commands, Merge Down,
| | 01:42 | which merges the current layer with below it, Merge
Visible which merges all visible layers together
| | 01:47 | and leaves the invisible layers independent of each
other and then Flatten Image, which merges all layers,
| | 01:53 | all visible layers and throws the invisible ones away.
| | 01:58 | Merge down by the way also affects
groups you can merge groups together.
| | 02:02 | So if I had a group selected, I will just go and show
you this, if I have the uber group selected for example,
| | 02:07 | then you will see that this command changes to merge group.
| | 02:10 | So you can merge groups, you can merge
layers that are inside of a clipping mask
| | 02:14 | and some other sort of grouped items inside the Layers palette.
| | 02:18 | I just want to merge the stretched
layer with the background layer.
| | 02:21 | I would click on the stretched layer, I would go up to
this Palette menu once again and I would choose Merge Down
| | 02:27 | or I would press the keyboard shortcut
Ctrl+E or Command+E on the Mac.
| | 02:31 | You went ahead and merged that layer down
that's tremendous however there is a problem.
| | 02:35 | Notice that all of my layercomps
got messed up and that's really kind
| | 02:39 | of strange actually given how many
modifications we have performed so far
| | 02:43 | that haven't created problems for the layercomps at all.
| | 02:46 | If I go ahead and undo that modification for example, I
will do the merging, you may recall that stretched used
| | 02:52 | to be inside uber group just a moment
ago and that didn't create any problems.
| | 02:56 | When I moved it out of the group or back into the group or
anywhere in the stack, that's not going to mess up the layercomps
| | 03:02 | at all, it's only going to mess up the layercomps if
I start deleting the layers in any way, shape or form.
| | 03:08 | If I start deleting layers then the layercomps get mixed up.
| | 03:11 | Well, that's actually not that big of a deal, so I am
going to press Ctrl+E or Command+E on the Mac in order
| | 03:17 | to go ahead and merge those two groups together.
| | 03:19 | The reason I am showing you this is I want you to know
how to deal with this problem, when you encounter it
| | 03:23 | and this is what you do, you just have to
manually update each one of the layercomps.
| | 03:29 | So you would click in front of base layer, it would show you
everything it has got to offer you and you would click Update.
| | 03:35 | Now actually base layer doesn't really
help because base layer went away,
| | 03:38 | right that was the unstretched version so
let's just go ahead and delete that guy.
| | 03:41 | We don't need it anymore, then click in front of stretched
that represents the stretched version of the layer that's fine,
| | 03:47 | so update it, click in front of white type, that brings up the
white type down there, update it, click in front of red version,
| | 03:54 | it's fine update it, click in front of
final version it's also fine, update it.
| | 03:59 | So you get the idea the layercomps are really surviving, they
are just unhappy with you and you are going to have to go through
| | 04:05 | and manually update each one of those
items in order to make the palette happy,
| | 04:10 | so it doesn't have little yellow
warning icons all over the place.
| | 04:14 | The other thing that I wanted to mention to you
think and this is possibly even more important is
| | 04:18 | that layercomps are full-fledge citizens of an image.
| | 04:22 | So if you go to the File menu and you choose the Save command
as long as you are saving to a file format that supports layers,
| | 04:29 | which would include tiff or PDF or most notably the native
Photoshop format ".psd" as long as you are saving to one
| | 04:38 | of those file formats then you will save your layercomps as well.
| | 04:41 | So layercomps do get saved along with an image, they take
up very, very little room because they are just caused
| | 04:48 | to the visibility and blend modes
and so on associated with the layers.
| | 04:52 | The layer comps don't actually save pixels and
therefore they don't take much room inside of a file.
| | 04:57 | So I just want you to know, when you press Ctrl+S
or Command+S on the Mac you are saving your layers
| | 05:03 | and your layercomps as well inside of your composition.
| | Collapse this transcript |
|
|
15. Opacity and Blend ModesParametric operations| 00:00 | Now so far you may have heard me bandy about an unfamiliar word
and now I need to tell you what it means. The word is parametric and
| | 00:09 | where more multilayered compositions are concerned,
it's the most beautiful word you've ever heard.
| | 00:14 | Now I know it sounds a little techy, but here's the deal.
A parametric operation is one that relies on parameters.
| | 00:20 | In other words, I might change a numerical value or I might select
an option from a pop-up menu or I might click on a check box,
| | 00:27 | but later I could change that number or select a different
option or turn off the check box. So everything I do is undoable.
| | 00:35 | Not in a conventional sense, where I choose the Undo
command immediately after applying a setting, but anytime,
| | 00:41 | ages later, whenever I want to. It's all a matter of changing a setting.
| | 00:46 | And that's just the beginning. In this chapter I'll show you how
to set layers to interact with each other in ways that are forever
| | 00:52 | changeable. In the same way you presently take for granted
that you can change a word in a line of e-mail, you can change
| | 00:58 | the essential appearance of a layer.
| | 01:01 | Here's how.
| | Collapse this transcript |
| The power of blend modes| 00:01 | This exercise is an introduction. I'll introduce you to
two things actually. First I want to show you the layered
| | 00:07 | composition that we'll be modifying over the course of
this chapter and then secondly, I want to give the most
| | 00:14 | rudimentary sense possible of the degree to which you
can blend layers using the two Opacity settings and
| | 00:22 | the 20 plus blend modes available to you inside Photoshop.
| | 00:25 | So let's start things off by opening this image right here.
It's called skyandstatue.PSD. It's available to you inside
| | 00:32 | the 15 Blend Modes folder that's inside the exercise files folder.
| | 00:36 | And you should just see one layer on screen right now and
that is a sunset sky captured by photographer Sean Lowe
| | 00:45 | In order to see the other layers go ahead and bring up the
Layers palette either by clicking on its tab or pressing the
| | 00:51 | F7 key and you can see that there is the background
layer, visible by itself, a handful of other layers that
| | 00:57 | are turned off right now. Let's cycle between these layers
and get a sense of what each one of these layers looks like
| | 01:03 | on its own by pressing Alt along with the Right bracket key
| | 01:07 | that would be the Option+Right bracket on the Mac.
| | 01:10 | By pressing Alt+Right bracket I advance to the gradient layer
right here, which features an independent layer on which I drew
| | 01:17 | a white to black gradient, white starting in the lower left
region of the image and black in the upper right region.
| | 01:23 | Now I'll press Alt+Right bracket again to see this statue
image right here and this is a statue by Michelangelo,
| | 01:30 | from the tomb of Giuliano De'Medici as it turns out. Set
against a transparent background so wherever you see
| | 01:37 | checkerboard inside Photoshop that indicates transparency.
Now every single one of these layers right now is set to
| | 01:43 | the Normal blend mode
| | 01:45 | with an Opacity and Fill value, both values, set to 100%.
I'll be explaining what these values mean in subsequent
| | 01:52 | exercises, but for now just note that that's telling us that
every single pixel in the active layer is as opaque as
| | 02:00 | it can possibly be. So in other words all the pixels inside
of the statue's head are opaque in the case of this layer,
| | 02:07 | and all the statues outside of the statue's head are completely
transparent, because that's the way these pixels are hardwired.
| | 02:15 | Now you can modify things on the fly by changing the blend mode
and the Opacity value and the Fill value, as we will see later.
| | 02:22 | Alright, now let's press Alt+Right bracket once again in order to
switch to the Texture layer. This is a pattern layer that I created
| | 02:30 | by clicking on this little black-white icon,
choosing the Pattern command and then selecting one
| | 02:34 | of the predefined patterns that ships along with Photoshop.
| | 02:38 | And this one ends up looking like sort of a marble texture.
| | 02:42 | It doesn't look like much right now, but it will look like
a lot once we start blending it with the other layers,
| | 02:49 | again using blend modes.
| | 02:50 | All right. Again I'll press Alt+Right bracket to advance to this layer.
It's called 'slight blue' and it features a very low saturation blue-color
| | 02:59 | expressed as a gradient that fades to transparency.
Once again relegated to its own layer. So wherever we see
| | 03:07 | the checkerboard pattern that indicates transparent or translucent
pixels. Finally, if I press Alt+Right bracket once again I'll advance
| | 03:14 | to the Text elements group and now I'll twirl that one
open and click in front of each one of these layers right here
| | 03:21 | in order to make of the layers visible and
we can see is some text that says Michelangelo,
| | 03:28 | with a little bit of a cast shadow underneath that I
created using the Motion Blur filter and I'll show you how
| | 03:34 | I achieved that in a later exercise but for now, just note that
this is live, editable text so you may get a message when
| | 03:41 | you first open up this image that asks you if you want
to go and update the text layers for vector output.
| | 03:47 | If you do see that message and if you ever see in
the future, just go ahead and click on the Update button.
| | 03:52 | Alright. Anyway I'm going to Shift+Tab
back my palette, so I can see them on screen.
| | 03:57 | Now that we've reviewed all the base layers that are
available to us, let's go and check how we might go about
| | 04:03 | mixing and matching those layers. Go to the Window menu and
choose the Layer Comps palette or you can press that keyboard
| | 04:10 | shortcut that I gave you with my Deke keys,
Alt+F7 or Option+F7 on the Mac.
| | 04:15 | Again that keyboard shortcut is only
available to you if you loaded Deke keys.
| | 04:19 | And I'll get a big tall Layer Comps palette to the left
of my other palettes. I'm going to go ahead and move this guy.
| | 04:25 | I'll drag the Layer Comps tab, and I'm going to drop
it underneath right there, underneath the Action item,
| | 04:32 | that little Play button there that's inside of my History
and Actions palette group and then I'll click on Layer Comps
| | 04:40 | in order to make it visible. Notice that I've made my
Layer Comps palette extra wide and there's a reason for that.
| | 04:45 | I've got two Layer Comps inside of this
palette that I've created in advance
| | 04:49 | and saved along with this image.
| | 04:52 | One's called 'opaque layers' and the other ones called
'blend mode madness' and if you twirl the items open,
| | 04:57 | you will see descriptions of each one of these Layer Comps. I created
these descriptions in advance so notice that the opaque layers item
| | 05:06 | says that the background and statue layers are visible.
Other layers are hidden and all layers are set to
| | 05:11 | the Normal blend mode with an Opacity of 100% and if you want
to see that, just click in front of opaque layers in order to see
| | 05:18 | what I'm talking about. That is indeed the saved composition and by the
way, to create a comment like this so that you can tell other people how
| | 05:27 | your layered compositions work, all you need to do is double-click
your Layer Comp and enter your comment text into the comment field.
| | 05:34 | It's that simple. All right. I'm going to cancel out of
there and bring back up my Layer Comps palette.
| | 05:40 | Now the only difference between this comp right here and
this comp right there, blend mode madness, which is all
| | 05:47 | layers turned on, so all layers visible, subject to various
blend modes and Opacity settings. The only difference is that
| | 05:54 | I have applied a bunch of different blend modes, a bunch of
different Opacity settings and also there's an Outer Glow
| | 06:01 | layer style going on as well, but I haven't modified a single pixel
inside the image. So big difference between where we're starting
| | 06:10 | and where we're going to end up, all thanks
to these parametric effects. That is to say-
| | 06:15 | these editable parameters that are made available to
us as Opacity settings and blend modes inside Photoshop.
| | 06:23 | All rights. So now you have a sense of what we're going
to be doing. What I want you to do is click in front
| | 06:27 | of the opaque layer's Layer Comp,
| | 06:30 | then go ahead and tuck the Layer Comps palette away so
that we can just see the Michelangelo head set against
| | 06:36 | the sunset sky background.
| | 06:38 | And that's where we're going to start things off,
beginning with the next exercise.
| | Collapse this transcript |
| Changing the Opacity value| 00:01 | In this exercise, I'll show you the simplest way to blend
layers inside of Photoshop and then choosing the Opacity
| | 00:07 | value inside the Layers palette. Now if your working along
with me, you should have open the skyandstatue.PSD image
| | 00:14 | that's found inside the 15 blend modes folder
| | 00:17 | and you should've gone to the Layer Comps
palette and clicked in front of opaque layers.
| | 00:22 | In which case you'll see on screen the Michelangelo
carving of Giuliano De'Medici set against
| | 00:29 | the sunset sky image from photographer Sean Lowe.
| | 00:32 | Alright now I'll go to the Layers palette and for me
anyway, the background layer is highlighted by default
| | 00:39 | and perhaps it is for you as well, in which case all of these
options at the top of the Layers palette, the Blend Mode setting,
| | 00:45 | the Opacity setting, the Fill setting,
all that stuff is going to be dimmed.
| | 00:49 | The reason is that these parametric effects here control
the interaction of the active layer with all the layers below it.
| | 00:58 | Now by definition, and there's nothing below the background
layer. The background layer is the ground level of your
| | 01:03 | layered composition. So each and every pixel in the background
layer is opaque. If you want to change these settings up here,
| | 01:11 | you have to switch to a different layer. Now it has to be
a visible layer as well. If I click on the gradient layer,
| | 01:17 | notice because it's turned off,
all of these options are dimmed still.
| | 01:21 | If I click on statue however, the statue layer, then I suddenly
have access to the blend mode, the Opacity setting and so on.
| | 01:30 | Now I'm really change the Opacity setting for the statue layer,
which of course represents the Michelangelo carving on screen.
| | 01:36 | I'll change the Opacity setting by clicking on the right
pointing arrowhead and adjusting this slider value and
| | 01:42 | I'm going to go and take it down to 50%. Now what I've
done is not only have I created a translucent version of
| | 01:49 | the Michelangelo carving but I've created a 50-50 mix.
So we've got 50% of the statue layer mixed with 50%
| | 01:57 | of all the layers below it, all the visible layers below it,
which in this case is just the background layer.
| | 02:03 | So that's why I say we have a 50-50 mix of the two.
| | 02:06 | If I wanted to weight it toward the background layer, than I would
lower the Opacity value. At this point we have 30% statue layer,
| | 02:13 | mixed with the remaining 70%,
| | 02:16 | because 30 plus 70 equals a hundred,
the remaining 70% background layer.
| | 02:20 | If I wanted to weight the statue, I would raise the Opacity level.
So in this case, I've got 70% statue layer mixed with 30%,
| | 02:29 | the remaining 30% background layer. In any case, this allows
you to achieve a translucent statue. I'm going to go and
| | 02:37 | press the Escape key in order to escape out of that value. That
also returned me to 100% as it turns out, but that's not a problem
| | 02:43 | because there's so many different ways
to change that Opacity setting.
| | 02:47 | For example I can scrub directly
on the word Opacity in order to
| | 02:52 | make the value smaller or larger in 1% increments. If I want to
work in 10% increments, I would press the Shift key as I scrub.
| | 03:00 | So notice each little teeny pixel of scrubbing with the Shift key
down changes the Opacity value in a 10% increment right there.
| | 03:09 | But the best way to work in my opinion is
just to press an number on the keyboard.
| | 03:14 | Notice these groups of tools over here in the toolbox. Notice
that you have four groups of tools in all. You've got the
| | 03:19 | top tools under the Selection tools and Crop and so on.
You've got the painting and editing tools, then you've got
| | 03:26 | the Pen tool going down to the Shape tool here and finally
the Note tool going down to the Zoom tool. As long as any tool,
| | 03:32 | except for those guys in the second group,
| | 03:34 | as long as any of the other tools is selected then you can
just press a number key on the keyboard in order to change
| | 03:41 | the Opacity of the active layer. So if I press six, I'll change
the Opacity value to 60%. If I press three, I'll get 30%.
| | 03:50 | If I press two numbers in a row, such as 3-5, I'll get 35%.
Or 7-8 for example, for 78%. Zero takes me back to 100%.
| | 04:01 | The only value therefore that's unavailable to you is zero percent.
| | 04:05 | Because after all, you can press 0-1 for 1% Opacity. Unfortunately
0-0 just gets you 100% Opacity. So if you want to make the layer
| | 04:16 | 0% opaque, that is completely transparent, then you
actually have to change the value to 0% manually.
| | 04:23 | All right, now I'll go and press zero in
order to take that back up to 100% Opacity.
| | 04:29 | Now the reason I'm cautioning you against having these tools,
the painting and editing tools active, is because if you do,
| | 04:35 | I'll go and select the Brush tool here, notice that it
includes its own Opacity value. So if you press a number key,
| | 04:41 | watch that value up there, if I press a number key such
as four, I'll change the Opacity of the brush, not the layer.
| | 04:48 | So that's something to bear in mind
when you're working inside Photoshop.
| | 04:50 | So I'll go and return the Opacity value back to 100%.
| | 04:54 | If you end of doing that, if you end up changing the Opacity
value when you don't mean to, just press zero to restore
| | 05:00 | that value to 100% then press the M key for
the Marquee tool, because that's just a good base tool,
| | 05:06 | then press whatever key you want, whatever
Opacity value such as 4 for 40% Opacity.
| | 05:12 | All right. So that just gives you a sense
of what you can do with the Opacity value.
| | 05:16 | I'll restore my Opacity value back to 100%
so that I can see just the statue layer and
| | 05:23 | I'm only seeing through to the background where the layer's transparent.
| | 05:27 | In the next exercise, I'll show you the difference between
the Opacity value and the Fill value directly below it.
| | Collapse this transcript |
| Opacity vs. Fill Opacity| 00:01 | One of the most common questions I get even from very
experienced Photoshop folks is what the world is the difference
| | 00:06 | between this opacity value right here and the fill opacity
value? Because when you're first starting off it seems like
| | 00:12 | the two values do exactly the same thing. Well let me show
you the difference inside of the big layer style dialog box and
| | 00:18 | I'm going to do that by double clicking on the statue layer
thumbnail right here. Double clicking on that little head
| | 00:25 | inside the layers palette that brings up this big layer
style dialog box and you see there is the blend mode.
| | 00:32 | There's the opacity value, and there's the fill opacity,
the item that goes simply by fill inside the layers palette.
| | 00:39 | All right. So with the preview check box on I'll reduce the
opacity value to 50%, we saw this in a previous exercise.
| | 00:45 | We get a 50-50 mix of head and background sky.
| | 00:49 | All right. So just kind of make a mental note of that.
I'll go ahead and increase the opacity value to 100% and now
| | 00:55 | reduce the fill opacity to 50% and now we get a 50-50 mix
of the head along with the background sky. So what gives?
| | 01:02 | These two effects so far are exactly identical
when the blend mode is set to normal as it turns out.
| | 01:09 | So what in the world is the difference between the two? Well.
| | 01:12 | Simply stated, the opacity value affects
the opacity of everything associated with a layer.
| | 01:19 | The fill opacity affects just the pixels and nothing else.
| | 01:24 | So how in the world do we see the difference?
| | 01:26 | Well, let's restore the fill opacity value to 100%. And
then I want you to click on this item right here outer glow,
| | 01:32 | in order to turn it on and make it active.
| | 01:35 | By default, the outer glow is set to yellow so I want you to click
on this little yellow swatch here, change the color to white by
| | 01:41 | clicking in the upper left hand corner of the color picker
graph, then click OK. Now change the opacity value that's
| | 01:49 | associated with the outer glow effect to 100%. Click inside
the size value and raise that to 65%, and I'm achieving that
| | 01:58 | value by pressing shift up arrow six
times in a row. So I've got 100% opacity.
| | 02:03 | White is my color and size is set to 65 pixels and I get this
fairly garish actually outer glow effect applied to my image.
| | 02:12 | Now click OK.
| | 02:14 | All right. Now we're going to be able the see the difference
between the opacity and fill settings very easily. I'll go
| | 02:19 | and bring up the Layers palette. Here's what happens if I
reduce the opacity of the layer to 50%. Notice that I affect not
| | 02:26 | only the head, not only the Giuliano de'Medici himself but
also his outer glow. Everything is reduced to 50% opacity.
| | 02:36 | All right. Compare that to raising the value back
to 100% and lowering just the fill value to 50%.
| | 02:44 | This time I affect the head. The head becomes translucent and
the outer glow effect remains as strong as it ever was. All right.
| | 02:52 | Well fill turns out to be a very useful setting so it's not
surprising that it's available to you from the keyboard at any time.
| | 03:00 | Go and click on the statue item
again to make that fill slider go away.
| | 03:04 | Now you can press shift along with a number key in order
to change that value. So if I press shift eight I change
| | 03:11 | the fill opacity to 80%. If I press shift two, I make the fill opacity
20%. If I press shift 56 then I'll make the fill opacity value 56%
| | 03:21 | and so on, and of course shift zero
restores the fill opacity value to 100%.
| | 03:27 | If I want an absolutely transparent fill,
then I need to manually reduce the fill value to 0%
| | 03:34 | like so and that allows me to completely drop out the layer
and only see its outline as expressed by the layer style,
| | 03:41 | which can be very cool when combined with text for example.
You might be able to imagine that. All right. In any case I'm
| | 03:47 | going to press shift eight in order to increase the fill
value to 80% so that we have a strong outer glow effect going
| | 03:57 | here with a just barely translucent head.
| | 04:01 | So we can just barely see through the head to the landscape
and you can see the effect most clearly down here in
| | 04:06 | the neck region so you can see slightly
through the neck to this landscape below.
| | 04:11 | All right. So that's the effect of the fill value.
| | 04:13 | It does turn out it's a little more complicated than that
because the fill value does affect some specialized blend modes
| | 04:20 | differently than others and we'll see how that works in
subsequent exercises, but for now just know if you remember
| | 04:26 | nothing else about this, fill affects just the pixels
inside of layer, independent of the layer style.
| | 04:31 | Opacity affects pixels and layer styles equally.
| | Collapse this transcript |
| Meet the blend modes| 00:01 | In this exercise I'm going to introduce you to the blend
modes that are available to you inside Photoshop. I have the
| | 00:06 | Statue layer active here inside the Sky & statue.psd
document that's found inside the 15 Blend Modes folder.
| | 00:14 | You may recall in the previous exercise I applied the Outer
Glow layer style, and I also applied a Fill value of 80%.
| | 00:22 | Now what that means, just to recap, is that
I'm seeing 80% statue mixed with 20% background,
| | 00:30 | so a fairly simple mix of layers inside Photoshop.
| | 00:33 | You might think of this as being sort of a mathematical
equation: 80% statue plus 20% background gives you
| | 00:41 | the result that you see onscreen.
| | 00:43 | Well, all that's going on with blend modes is that they're more
complicated mathematical equations. So if you click on the
| | 00:49 | word Normal here inside the Layers palette,
| | 00:52 | you'll see a list of 25 blend modes in all that are available
to you inside of Photoshop CS3, and every one of these
| | 01:01 | named blend modes such as, for example, Overlay, Soft Light,
Hard Light and so on, every single one of them represents a
| | 01:08 | mathematical equation, a unique equation as it turns out as well.
| | 01:13 | Now in a way, these labels make things easier because you
don't have to look at the complicated math that's going on
| | 01:19 | in the background.
| | 01:20 | In another way though, they make things more complicated,
because you have no idea what Overlay means, or Soft Light, or
| | 01:27 | Hard Light. I mean, what do these labels do? Well the good
news is that many of these blend mode equations are related
| | 01:34 | to each other, and Photoshop goes ahead and organizes
the blend modes in this list according to their relationship.
| | 01:41 | So we've already seen the Normal blend mode. Right below it is
this variant called Dissolve, that I'll explain in just a moment.
| | 01:49 | But first I want to show you the organization. After Dissolve
we have a second group of blend modes. Every one of these uses
| | 01:57 | the current layer to darken the layers below it. So we have
Darken, Multiply, Color Burn, and Linear Burn, and they're
| | 02:03 | related by their ability to burn things in, to darken
for example the face into the layers below. The next group
| | 02:12 | are the lightening blend modes, so they would lighten,
they would blend the layers together in order to create
| | 02:18 | a lighter effect.
| | 02:19 | Then we have the contrast modes that lighten and darken
the image in order to create a higher contrast effect.
| | 02:26 | Next we have the complement modes that use one layer to
invert the colors in the layers below. And then finally we
| | 02:35 | have the somewhat messy group- things got a little messier
thanks to the addition of Lighter Color and Darker Color
| | 02:40 | inside of Photoshop CS3- but they're
basically composite modes, which use
| | 02:46 | hue, saturation, and luminosity in order to calculate color
mixes inside of the image. We're going to look at every single
| | 02:56 | one of these modes throughout this chapter, but let's start
things off with Dissolve. So we've seen Normal, we can see it
| | 03:03 | right there. There's no special math
associated with the Normal mode.
| | 03:07 | We're just seeing a pixel mixed with the pixel directly below
it according to the Opacity and Fill values here. Dissolve
| | 03:15 | creates a dithered noise effect, like what we're seeing
onscreen right now. Notice, by the way, on the Windows side
| | 03:21 | that the blend mode is sticky. So if you want to be able to take
advantage of other keyboard shortcuts you're going to have to
| | 03:26 | press the Escape key in order to unstick that mode.
Alright so I'll zoom in on the image quite a bit here
| | 03:33 | so that we can see this dither pattern that's applied
| | 03:37 | when we choose the Dissolve mode. So instead of seeing
any sort of interaction between the pixels on the statue
| | 03:44 | layer and the pixels on the layer below,
| | 03:46 | we just see 80% of the face layer pixels and we don't see
the other 20%. And it's a random sort of variation between
| | 03:55 | the two, so we get this dither pattern right here. I'll just
zoom back out. Not too useful, as it turns out, so I'm going
| | 04:02 | to go ahead and restore the Normal mode by going back
to the Layers palette and choosing Normal from the list.
| | 04:09 | A better way to use the Dissolve mode is over soft transitions,
like this Outer Glow effect for example. I'm going to modify
| | 04:16 | the Outer Glow by finding it inside of the list, it's right
here below the Statue layer, and if you can't see it
| | 04:22 | then you have to click this down-pointing
arrowhead here to expand the layer.
| | 04:26 | Then I'll double-click on Outer Glow in order to bring up
the Layer Style dialog box, and notice that you have a blend
| | 04:32 | mode associated with each and every layer
effect that you assign inside Photoshop.
| | 04:37 | By default, the blend mode for a glow is set to Screen.
| | 04:41 | You can, however, change it to Dissolve, and watch the glow
in the background here when I choose Dissolve. Notice that it
| | 04:47 | turns into this dithered noise effect. It's no longer a smooth
glow effect. Instead, it's this sort of choppy pixel effect.
| | 04:56 | Now back in the old days, this was kind of a cool thing to do,
especially with GIF graphics that you were creating for the web.
| | 05:02 | Nowadays, I would go so far as to say that you're going
to get very little use out of Dissolve. So you know,
| | 05:08 | if you find a use for it, great.
If you don't, don't worry about it.
| | 05:11 | I'm just going to go ahead and press Ctrl+Z or Cmd+Z
in order to restore that soft glow effect that we
| | 05:18 | were seeing before. So now we've seen the difference
between Normal and its immediate neighbor, Dissolve.
| | 05:23 | In future exercises we're going to take a look at the other groups:
the darken modes, lighten modes, the contrast modes, and so on.
| | 05:29 | But first, in the next exercise we'll take a look at
how you can change the blend modes from the keyboard.
| | 05:37 |
| | Collapse this transcript |
| Blend mode shortcuts| 00:00 | Photoshop gives you shortcuts for changing the Opacity value,
shortcuts for changing the Fill value, so it's no surprise
| | 00:06 | that you have keyboard shortcuts for changing the
blend modes as well. In fact, altogether you have
| | 00:11 | almost 30 different keyboard shortcuts to choose from.
| | 00:15 | I'm going to tell you about every single one of those shortcuts
inside of this exercise, and you can decide which ones you
| | 00:20 | want to memorize, which ones you want to give the slip, and so on.
| | 00:24 | I have currently selected the Statue layer inside of the Sky &
statue.psd image, that's found inside the 15 Blend Modes folder,
| | 00:33 | and that layer is set to the Normal blend mode. Now notice
I can press Shift+Plus in order to switch to the next blend
| | 00:40 | mode in the list, so Shift+Plus takes me to Dissolve, then
Shift+Plus takes me to Darken, and then to Multiply, and then
| | 00:46 | to Color Burn, and then to Linear Burn, and then Lighten, and
Screen and so on. You don't know what a lot of these modes do yet,
| | 00:52 | but I'm going to tell you starting in the next exercise.
| | 00:55 | But for now, just note that you can change those shortcuts
by pressing Shift+Plus. You can also switch back, you can
| | 01:00 | cycle back through the pop-up menu by pressing Shift+Minus.
So that'll take you to Lighten, then Linear Burn, Color Burn,
| | 01:07 | Multiply, Darken, Dissolve, and Normal.
| | 01:10 | If you keep pressing Shift+Minus of course. Now the problem
with working this way is that every single time you press
| | 01:16 | Shift+Plus or Shift+Minus it gets recorded as an independent
history state. So now if I go to the History palette,
| | 01:22 | which I can do by clicking on this icon here or
choosing the History command from the Window menu,
| | 01:27 | notice that I have a ton of states that are called Blending
Change, and that just shows me that I changed blend
| | 01:33 | modes inside of my image. Now if I press Shift+Plus or
Shift+Minus too many times, then I would roll off some of my
| | 01:40 | previous states- which I have actually- making them
unavailable to me. So you might not want to work this way.
| | 01:46 | It's great for just cycling between modes
| | 01:48 | when you're not sure what they're going to do
to your image, but if you have a sense of where
| | 01:52 | you want to go, you're better off
switching to that mode either manually or
| | 01:57 | by switching to a very specific mode
| | 02:00 | using a shortcut. Let me show
you how those shortcuts work.
| | 02:03 | I'm going to press Ctrl+Tab to switch to a different image
than I have open here, and it's called Blend mode keys.psd,
| | 02:10 | and it lists all the blend modes that are available inside
the Layers palette, as well as the keyboard shortcut, which
| | 02:16 | is Shift+Alt, along with a letter key. On the Macintosh side you
press Shift+Option along with a letter key. This of course assumes
| | 02:24 | that you have any of the tools selected except for the painting
and editing tools in the midsection of the toolbox here.
| | 02:30 | So Shift+Alt+N or Shift+Option+N gets you Normal.
Shift+Alt+I gets you Dissolve. We have K for Darken,
| | 02:39 | and so on, you can read down this list here.
| | 02:41 | Now sometimes the keyboard shortcuts make sense,
like M for Multiply, so I don't provide any additional
| | 02:46 | information inside of my chart here. But B for Color Burn
might be little bit of a stretch, which is why I show you
| | 02:53 | a little bit of the rationale. It's B for Burn or A
for the A inside Linear with Linear Burn. G inside Lighten,
| | 03:00 | and so on. Sometimes it's a big stretch. For example it's W
for the Linear Dodge mode. That doesn't have a W inside
| | 03:08 | any portion of the blend mode name.
| | 03:11 | Well you can think of it as being an upside down M,
because M is assigned to the primary darkening mode,
| | 03:18 | which is Multiply, and Linear Dodge is the ultimate
lightening mode, so it's an upside down M for W.
| | 03:24 | Or you can just think of it as being 'Way Light.'
| | 03:26 | F for Soft Light and so on. We have J for Linear Light,
which is really odd, but J is a backward L, and there's a
| | 03:34 | couple of Ls inside Linear Light, so you might remember it
that way. Pin Light we have Z because it zeroes out the midtones.
| | 03:41 | Hard Mix we have L, which is really weird because Linear
Light and Luminosity have Ls inside of them, but instead
| | 03:47 | L goes to Hard Mix. Well, it's the least of them all, as it
turns out. It's probably the last blend mode you'd want to select,
| | 03:54 | and so on going down the list. Now there's no
reason to memorize every single one of these,
| | 03:58 | and to this day I've never really gotten around to memorizing
all of them, I must say. I just keep track of the most
| | 04:05 | important ones, which I've gone ahead and circled in blue.
So N for normal is very handy, and M for Multiply because
| | 04:11 | Multiply is a great mode as we'll see. S for Screen is a
really good one to memorize. O for Overlay, H for Hard Light,
| | 04:18 | E for Difference, because Difference is the kind of mode you
might want to come back to on a regular basis, C for color, and
| | 04:23 | then Y being the last letter in Luminosity.
Finally, in case you're noticing that a few of the
| | 04:28 | letters are going unused, three letters in all,
that's because those are the brush-only modes.
| | 04:34 | In other words, they only appear if you select the Paintbrush.
| | 04:38 | And then you'll see them here inside of the Mode pop-up menu.
They do show up elsewhere inside the program, it's just that
| | 04:44 | they're not available from the keyboard except
when using one of the painting or editing tools.
| | 04:49 | So notice now that we have this
new Behind mode, as well as Clear,
| | 04:53 | and we also have this Airbrush option right here. Now
those are available to us by pressing the P, Q, and R keys.
| | 05:01 | All right in a row there, that's how you can keep track of those,
if you're so inclined. So P gets the Airbrush, and that's
| | 05:08 | because it's pushing out the paint when you're holding down
the mouse button. Airbrush mode pushes that paint out. Q is
| | 05:13 | just the letter after P. I don't know anything else
to tell you there, but it does get you the Behind mode,
| | 05:17 | and I'll show you that later when we talk about
the brush-only modes. And R gets you the Clear mode.
| | 05:23 | So notice right here it's telling you at the bottom, these guys
are the ones that are worth memorizing. I don't think any of
| | 05:28 | these are particularly worth memorizing as it turns out. So those
are all the modes that you have available to you, just remember
| | 05:34 | that you've got Shift+Alt on the PC side or Shift+Option
on a Mac, along with these keys that you can memorize or not,
| | 05:43 | totally up to you.
| | 05:44 | In the next exercise we're going to check out how the
individual blend modes work starting with the darkening modes.
| | 05:51 |
| | Collapse this transcript |
| The darkening modes| 00:01 | In this exercise I'm going to demonstrate the effects of the
darkening blend modes, which use the active layer to darken
| | 00:08 | the layers below it. For the most part these
darkening blend modes are located in the second section
| | 00:14 | of the Blend Mode pop-up menu.
| | 00:16 | Alright, I'm going to escape out of there because I want to
show you that I'm working on the Statue layer still inside this
| | 00:21 | Sky & statue.psd document. Since opening this image from
inside the 15 Blend Modes folder, I have assigned an Outer Glow
| | 00:29 | effect and reduced the Fill Opacity value to 80%. I'm now going
to switch from the Normal blend mode to the first and simplest
| | 00:37 | of the darkening blend modes,
which is simply known as Darken.
| | 00:42 | And notice what happens here in the case of this mode. I'm going
to go ahead and zoom in tight on the image in the eye and nose
| | 00:48 | region, and we can see that Photoshop is keeping the darkest
colors inside the layer and dropping away the lightest
| | 00:54 | colors inside the layer, so anywhere where the statue layer
is darker than the background layer we keep the colors,
| | 01:02 | anywhere where the statute layer is lighter than the background
layer, we drop the colors away. So we're basically keeping
| | 01:08 | the shadows, dropping away the highlights,
on a channel-by-channel basis.
| | 01:12 | So inside one channel, one pixel may be darker, inside of
another channel a different pixel might be darker. As a result
| | 01:19 | you sometimes get these wayward colors going on, thanks to
the Darken blend mode. If you don't like those wayward colors,
| | 01:26 | you can switch to a new blend mode- new to Photoshop CS3,
that it is. Now inside this particular beta version of
| | 01:33 | Photoshop CS3, the different mode, this variation
on the Darken mode, is located at the bottom of
| | 01:39 | the blend mode list. It's called Darker Color,
| | 01:42 | and I mention that because I live in the hope that Adobe will
come to its senses and go ahead and move this mode where
| | 01:48 | it belongs, to the second section up here, but for now for
engineering reasons they've decided to move it to the bottom of
| | 01:54 | the list. Also worth noting, whereas every single one of the
other blend modes includes a keyboard shortcut, these two new modes,
| | 02:02 | Lighter Color and Darker Color, do not include keyboard
shortcuts, and not only are they located in odd positions,
| | 02:09 | odd and I would go so far as to say
inconvenient positions at the end of a list here,
| | 02:13 | but they don't have keyboard shortcuts either.
Anyway I'm going to go ahead and choose Darker Color,
| | 02:18 | and notice that we end up with harsher transitions. What's
going on here is that Photoshop is calculating which pixels are
| | 02:25 | darker and which pixels are lighter on a composite basis.
So as a result inside one channel a pixel may be darker,
| | 02:32 | inside of another channel a pixel may be lighter, hence the
harsh transitions that we're seeing along the bridge of the nose.
| | 02:38 | And if we go to the neck region, it's even more obvious.
So this the Darken mode, and this is the new Darker Color mode,
| | 02:46 | just to give you a sense. Now, I'm not going
to belabor this mode too much for two reasons.
| | 02:50 | First of all, if you're interested in the
real-world use for the new blend modes here,
| | 02:54 | you can check out my Photoshop CS3 Beta One-on-One
Preview series and take a look at an exercise
| | 03:02 | called "The new blend modes."
| | 03:03 | It'll tell you all about how to
use Lighter Color and Darker Color.
| | 03:08 | But here's a little tip from me to you: not all that useful.
| | 03:11 | Much more useful is this guy right here, Multiply.
It's better than Darken and Darker Color put together.
| | 03:18 | Go ahead and switch to the Multiply blend mode and you'll see
what I'm talking about. We now end up with these nice smooth
| | 03:24 | color transitions, and we don't see any wayward
colors either. So I'm going to go ahead and switch over
| | 03:31 | to the eyes and nose region.
| | 03:33 | So just for the sake of comparison, this is the difference
between the Darken mode, which I'm getting to by
| | 03:38 | pressing Shift+Alt+K, or Shift+Option+K on the Mac, and the
Multiply mode, which I'm getting to by pressing Shift+Alt+M
| | 03:46 | or Shift+Option+M on the Mac. And that second
keyboard shortcut, Shift+Alt+M/Shift+Option+M,
| | 03:52 | is a keyboard shortcut that I suggest you
memorize. The Multiply mode is really, really useful.
| | 03:59 | Now a couple of other notes about the Multiply blend mode
here. It's the rare blend mode that is named after its
| | 04:05 | underlying math. Photoshop is actually multiplying
colors in order to create this darkening effect.
| | 04:12 | But it may be more helpful to think of the effect in terms
of its real-world analogy. So imagine the Statue layer is
| | 04:21 | printed on one transparency and the Background layer is
printed on another transparency, and you've stacked the two
| | 04:27 | transparencies directly on top of each other on a light table.
This is the effect you would get. So the light from the light table
| | 04:34 | is having to shine through two transparencies, and
therefore it's getting incrementally darker as it goes
| | 04:39 | through the ink of these transparencies, as it were.
| | 04:43 | As a result you get nice smooth transitions, nice even
shadows, which is why the Multiply mode is the blend mode of
| | 04:51 | shadows inside of Photoshop. A really terrific blend mode,
the best blend mode to use when in doubt, the best darkening
| | 04:59 | blend mode available to you.
| | 05:00 | Alright, if for some reason you decide that the Multiply blend
mode really isn't doing it for you, doesn't have enough punch,
| | 05:06 | then you can switch to the punchier modes, which are the
burn modes. I'm going to get to them by pressing Shift+Plus.
| | 05:13 | So pressing Shift+Plus once gets me to the Color Burn
mode right here, which produces a high-impact darkening effect.
| | 05:21 | It usually results in some clip shadows, as we're
seeing here, as well as some very, very saturated midtones.
| | 05:28 | If you like the darkness of the Color Burn effect,
| | 05:31 | but you don't like the oversaturated midtones, then
you can scale down the midtones a little bit and punch
| | 05:36 | up the darkness of the effect
by switching to the next blend mode,
| | 05:41 | which is called Linear Burn. So I press Shift+Plus
to switch to the Linear Burn mode. This is Color Burn,
| | 05:47 | and this is Linear Burn,
| | 05:49 | where this face layer is concerned. So you can see that we are
losing a little bit of midtone saturation, which is a nice thing.
| | 05:55 | So those are the darkening modes that are available to you
inside Photoshop. In the next exercise, I'm going to show you
| | 06:02 | a little trick that you can pull off using the Fill value when
working with either the Color Burn or the Linear Burn mode.
| | 06:11 |
| | Collapse this transcript |
| Tempering a Burn effect with the Fill value| 00:00 | In this exercise I'm going to demonstrate the unique
relationship between the Fill value and the burn blend modes.
| | 00:06 | I've gone ahead and assigned a Linear Burn to the Statue layer,
and notice that even though I've got an ultra-dark version of
| | 00:13 | the layer going on, I still have a nice bright outer glow,
and that is because blend modes that are assigned to layers
| | 00:19 | have no effect on outer functions, like the Outer Glow effect or
a drop shadow, which extend outside the boundaries of the layer.
| | 00:28 | So you can have nice bright glows mixed with ultra-dark interiors
such as we have here. Now in our case, I think the ultra-dark
| | 00:35 | interior is way the heck too dark. I'm ending up with a whole
lot of clipped shadows, and I'd like to temper the effect. So
| | 00:43 | my natural reaction of course would be to reduce the Opacity
value. So I'll press the 4 key to reduce the Opacity value
| | 00:50 | here inside the Layers palette to 40%. And I end up with a translucent
version of the layer, but it's no better looking, it's simply washed out.
| | 00:58 | So we still end up with these flat shadows, they're just
weaker shadows. And tepid is not what I want, not what I'm
| | 01:06 | trying to achieve at all when I apply a burn function inside
Photoshop. So let's just go ahead and undo the Opacity value.
| | 01:14 | Compare that to pressing Shift+4 to reduce the Fill Opacity
to 40%, and notice what a world of difference it makes now.
| | 01:23 | I was telling you a few exercises ago
that the whole purpose, the raison d'etre
| | 01:28 | for the Fill Opacity option is that it affects
| | 01:32 | pixels inside of the layer independently of layer effects.
But Fill also affects some blend modes differently than the
| | 01:40 | Opacity value does. So referring here to the darkening
functions, Darken, Multiply, and Darker Color,
| | 01:48 | all three of those blend modes are equally affected by Opacity and Fill.
| | 01:53 | So a Fill value of 40% would look the same as an Opacity value
of 40% where the pixels inside the layer are concerned. However,
| | 02:01 | if you choose Color Burn or Linear Burn, then Opacity and Fill
work differently. Now at this point these are the options I
| | 02:08 | want you to assign to this layer by the way, if you're working
along with me. I want you to assign the Linear Burn mode and
| | 02:13 | a Fill Opacity of 40%. But at this point, you might be
thinking, "Gosh Deke, I can follow along with you, that's fine,
| | 02:20 | but there is no way, in addition to trying to
keep track of what all these blend modes do,
| | 02:25 | that I stand a prayer of remembering which blend modes are affected
| | 02:29 | differently by the Fill value."
| | 02:31 | Well, that's why I've gone ahead and included a little bit
of a helper inside of a document that's available to you here.
| | 02:39 | If you switch back to it the Blend mode keys.psd document,
which shows you of course all the keyboard shortcuts
| | 02:46 | that are available for your blend modes, including the fact that the
new Lighter Color and Darker Color modes don't even have shortcuts.
| | 02:55 | You will see at the top of the Layers palette, a group that's
called top secret. Go ahead and twirl it open and then go ahead
| | 03:02 | and turn this fill opacity layer on by clicking
on its eyeball. You will see now a total of eight bars
| | 03:10 | that have been added to this image, and they highlight
| | 03:14 | the 8 out of 25 blend modes, that is to say, that are affected differently by the Fill value, that are affected in a
| | 03:21 | unique way by the Fill value. Those include Color Burn
and Linear Burn, Color Dodge and Linear Dodge, Vivid Light
| | 03:27 | and Linear Light, and Hard Mix and Difference. I don't
expect you to remember them, that's why I've gone ahead and
| | 03:33 | included this fill opacity layer for you, so that you can
come back to this document any time you like,
| | 03:39 | because this is a really useful, undocumented trick
| | 03:44 | that can be extraordinarily helpful when trying
to back off severe effects such as Linear Burn.
| | 03:52 |
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| Saving a blended state| 00:01 | Now if you haven't gotten this sense already, let me assure you
that working with blend modes inside of Photoshop can be a
| | 00:06 | highly experimental process. Even if you know, for example,
what the Linear Burn mode does, it's something of a surprise
| | 00:13 | when you actually go ahead and assign the mode to a layer. Which
is why I recommend that every so often when you're assigning
| | 00:21 | blend modes to your layers inside Photoshop, you take
a moment to go ahead and save out the state of your image
| | 00:26 | as a layer comp, so that if you need to,
you can always come back to it.
| | 00:31 | And that's what we're going to be doing, ever so briefly,
inside of this exercise. So I've got my Statue layer here, I've
| | 00:37 | assigned an Outer Glow effect, I've assigned the Linear Burn
blend mode, and I've reduced the Opacity value to 40%.
| | 00:44 | Let's go ahead and save out this
state of the image as a layer comp.
| | 00:48 | Bring up the Layer Comps palette if you will, which you
can do by clicking on its tab or choosing the Layer Comps
| | 00:54 | command from the Window menu.
| | 00:56 | Then click on the little page icon at the bottom of the Layer
Comps palette to bring up the New Layer Comp dialog box.
| | 01:02 | Make sure in addition to the Visibility checkbox that you turn
on the Appearance checkbox. Now it goes ahead and tells you
| | 01:08 | that Appearance saves out the layer style, so it will save
out the Outer Glow, but it also saves out the Blend Mode,
| | 01:15 | Opacity, and Fill Opacity settings. Those are all part of the
Appearance option right there. If you don't turn on that checkbox,
| | 01:22 | your Blend Mode and Fill and Opacity settings will
| | 01:25 | not be saved. So make sure that checkbox is turned on. Then
I'll go ahead and call this image Face to LBurn or something
| | 01:34 | along those lines. I could assign a comment if I wanted to,
but I'm not going to take the time to do that right now.
| | 01:39 | I'll just go ahead and click OK in order to save out that the
blended state. Now I'm going to click on the Layer Comps icon again,
| | 01:47 | and I will see that I have a new comp added to the bottom of the list
here. Why don't we move it to the middle, so it appears right after
| | 01:55 | Opaque layers? So I can switch between Opaque layers, which is
the original version of this layered document, with all layers
| | 02:03 | set to Normal and Opacity and Fill values of 100% each. Compare
that to the layered state so far, Face to LBurn. Now even
| | 02:12 | though we've done relatively little work to the image
at this point, and we really haven't gotten an effect that
| | 02:18 | looks super-duper great, it's going to look better
and better as we work through these layers here,
| | 02:23 | because we are going to achieve this in the end, which is
a beautiful effect, don't you know? We still have this effect
| | 02:30 | saved in case we need to come back to it and make some
modifications to it at a later point in time. So remember to save
| | 02:37 | out your blended states as layer comps, and then all you
need to do is go up to the File menu and choose the Save
| | 02:44 | command and all of your blended layers, as well as the
blended states, will be saved along with that composition.
| | 02:54 |
| | Collapse this transcript |
| The lightening modes| 00:01 | In this exercise, we're going to take a look at the
lightening blend modes inside of Photoshop. Not lightning, but
| | 00:07 | lightening, and those are the third
group of blend modes, these guys right here,
| | 00:12 | starting with the Lighten blend mode, of course.
| | 00:15 | Alright, so here I am working inside the Sky & statute.psd
document. I want you to click on the Gradient layer
| | 00:21 | and turn it on, make it visible, so that it's active and visible here.
| | 00:25 | This is the white-to-black Gradient layer. I want to go ahead
and drop out all those blacks, just keep the whites, and blend
| | 00:31 | them in with the Background layer. I'm going to do that using
these lightening blend modes. So for starters, let's go ahead and
| | 00:38 | switch to the first and simplest
of the bunch, which is the Lighten mode.
| | 00:42 | In this case, we're keeping the colors that are lighter inside
the Gradient layer than the colors in the background. Wherever
| | 00:49 | the background is lighter, it shows through instead. And
this is happening on a channel-by-channel basis, so we may
| | 00:55 | end up getting some different color transitions going on,
some wayward color transitions. If you don't want those
| | 01:02 | wayward colors, and you'd rather calculate
your lighter colors on a composite basis,
| | 01:07 | then you can switch from Lighten to the new, and misplaced,
Lighter Color function down here at the bottom of the Blend Mode
| | 01:15 | pop-up menu, at least inside this version of Photoshop CS3.
| | 01:19 | And you'll end up with some harsh transitions, but you'll also
end up keeping colors on a composite basis. Notice that we
| | 01:27 | don't get any color interaction going on this time around.
Alright, so while that's interesting, I don't think it's
| | 01:34 | good-looking in the case of this image. So let's switch to
the creme de la creme of the lightening functions, and that
| | 01:41 | is the Screen mode. The Screen mode is to the lightening modes
what the Multiply mode is to the darkening modes, that is,
| | 01:49 | it's the mode to turn to when in doubt.
| | 01:51 | So I'll go ahead and choose Screen, and it ends up creating
a nice, smooth, even transition. Notice that we don't see any
| | 01:58 | darker colors going on, the blacks are totally dropped out,
all the darker grays are dropped out as well, and we just end
| | 02:05 | up with a smooth white gradient that's dissipating into
nothingness over here on the right-hand side of the image.
| | 02:12 | So there's a lot of math going on under the hood here.
| | 02:16 | But this time, the Screen mode, unlike Multiply, the Screen mode
is not named after the math. Instead it's named after the
| | 02:23 | analogy that's at play, the real-world analogy. So imagine this,
| | 02:28 | imagine that the Gradient layer has been
printed on one slide, like a 35 mm slide,
| | 02:34 | and the Background layer has been printed on another slide,
and we take these two slides and we put them in separate
| | 02:40 | projectors, and we shine both projectors at the same
screen. That's what's going on with the Screen blend mode.
| | 02:47 | So as a result, we get a uniformly lighter effect,
| | 02:51 | because we have two different projectors
with two different light sources going on there.
| | 02:56 | And we end up with just this wonderful, smooth, beautiful transition.
Alright, let's say that's not enough. You want something
| | 03:02 | with more punch. Well you've got these punchier options in the form
of the dodge functions. You've got Color Dodge, which is going to
| | 03:09 | punch up the highlights, probably blow them out a little bit,
and give you some very hypersaturated colors.
| | 03:16 | If those colors are too saturated, then you can switch to the
Linear Dodge function, which is going to back off the midtones
| | 03:23 | a little bit and deliver brighter highlights as well.
| | 03:28 | Now bear in mind that the dodge functions are a lot
like the burn functions in that the Fill value behaves
| | 03:35 | differently when one of these options is selected than the Opacity
value does. Just to refresh your memory here, I'll go ahead and
| | 03:42 | switch back to the Blend mode keys.psd document
that's there inside of that 15 Blend Modes folder.
| | 03:48 | And I've turned on the fill opacity layer so that you can
see the highlights over those blend modes that are affected
| | 03:54 | differently by Fill and Opacity, and sure enough,
Color Dodge and Linear Dodge rank among those functions.
| | 04:01 | I'll switch back to this image here, and just for the
sake of demonstration I'll press Shift+4 in order to
| | 04:07 | back off this effect, in order to back off the Fill value to 40%.
Notice now we get a much more agreeable, I think, effect
| | 04:17 | assigned to the Gradient layer.
| | 04:19 | Alright, but that's not what I want. I'm going to go ahead and
undo that Fill value, and I'm going to press Shift+Alt+S,
| | 04:25 | or Shift+Option+S, for the Screen mode. The Screen mode is
so great that I recommend you assign that keyboard shortcut
| | 04:32 | to memory. So once again, that's Shift+Alt+S
on the PC, Shift+Option+S on the Mac.
| | 04:38 | Then press the 6 key in order to reduce the Opacity of
the Gradient layer to 60%, and that is our image so far.
| | 04:46 | In the next exercise, we'll take a look at the next
group of blend modes, which are the contrast modes.
| | 04:55 |
| | Collapse this transcript |
| The contrast modes| 00:00 | Alright, now let's take a look at the contrast modes that are
available to us here inside of Photoshop. The contrast blend
| | 00:07 | modes are organized into this fourth grouping inside the
Blend Mode pop-up menu here inside the Layers palette.
| | 00:13 | Every single one of these options multiplies in the shadows,
screens in the highlights, and drops away the midtones in
| | 00:21 | order to create a high-contrast effect. So they're all
somehow combining the darkening modes along with the
| | 00:29 | lightening modes. So we'll see that every single one
of these modes combines a different sort of coupling,
| | 00:35 | a different pair of these modes together.
| | 00:38 | Alright, assuming that you're working along with me inside
of the Sky & statue.psd document, I want you to select the
| | 00:45 | Texture layer, and I want you to turn it on as well, and you'll
see this marble texture that I created by adding a pattern
| | 00:52 | layer to my composition.
| | 00:55 | And now I'd like you to go ahead and change this texture layer
to the Overlay mode by selecting it from the list. Now the
| | 01:01 | Overlay mode is your "when in doubt" mode where contrast
modes are concerned inside of Photoshop. It really, truly is
| | 01:10 | merging together the Multiply and Screen modes in order
to keep the highlights and keep the shadows in the darker
| | 01:18 | regions where those shadows overlap the darker regions of
the composite layers in the background here, and it drops
| | 01:25 | away the midtones. So you can see that our few midtones inside
of this layer are dropping away and revealing the colors
| | 01:33 | from the layers underneath.
| | 01:35 | Alright, so that's the Overlay mode, your base contrast mode
inside of Photoshop. I'm going to go ahead and press the Escape key
| | 01:41 | so that blend mode is no longer active there inside the
Layers palette, then I'll press Shift+Plus. If Overlay
| | 01:48 | is too harsh, then you can advance to the Soft Light mode,
which is a downplayed, reduced version of the contrast
| | 01:56 | modes inside Photoshop. It uses totally different math, as it
turns out. It's not simply Overlay set to a reduced Opacity
| | 02:03 | or Fill value, it's something quite
different, quite its own thing.
| | 02:07 | If you want something that's a little stronger than the Overlay
mode, then I'll press Shift+Plus again to advance to the
| | 02:14 | Hard Light mode, and this is basically the Overlay mode turned
on its head, as it turns out. The math is an upside down
| | 02:21 | version of the Overlay mode, if that makes any sense. If not,
just bear in mind that it's a stronger version of Overlay.
| | 02:28 | And it's starting to look a little too strong, as
it turns out, but it's still based on that same
| | 02:32 | Multiply and Screen mathematics. If you
want to switch from Multiply and Screen,
| | 02:39 | which are represented by these three options,
to dodge and burn, then you want to switch off
| | 02:44 | to Vivid Light and Linear Light, those guys right there. Vivid
Light is analogous to combining Color Burn with Color Dodge,
| | 02:51 | and Linear Light is analogous to combining Linear Burn with Linear Dodge.
| | 02:57 | I'll go ahead and show you how those two work by pressing Shift
+ Plus. This is the Vivid Light option, and this is the Linear
| | 03:03 | Light option, and they are of course totally over-the-top at
this point, but we can mitigate them using the Fill value,
| | 03:10 | as we will in just a moment. But in the meantime, let's advance
on, let's check out the remaining contrast modes. I'm going to
| | 03:18 | press Shift+Plus to advance to the Pin Light mode. Notice
this time, we keep the highlights, we keep the shadows,
| | 03:24 | and we really totally drop out the midtonesin between.
| | 03:27 | The reason is, we are now performing a composite
lighter and darker measurement. So it's like we're
| | 03:34 | combining those new Lighter Color and Darker Color functions,
new to Photoshop CS3 that is, even though Pin Light is a
| | 03:40 | couple of versions older. So Pin Light results in some pretty
harsh effects as it turns out, some pretty harsh contrast
| | 03:47 | between the highlights that remain totally visible, the shadows that remain totally visible, and the midtones that drop completely away.
| | 03:56 | And that can be useful for creating a textured effect,
especially when combined with a reduced Opacity value.
| | 04:03 | The next and last of the contrast modes is this guy
right here, Hard Mix. Hard Mix is basically Vivid Light
| | 04:12 | with a threshold applied on top of it, so that you're reducing
the number of colors on a channel-by-channel basis to just
| | 04:19 | black and white. And because we're doing it on a channel-by-channel basis, that means that we're seeing a total of eight colors,
| | 04:25 | black, white, red, green, blue, cyan, magenta, and
yellow, but that's it. Which might make you think,
| | 04:32 | Why in the world would you use this
totally, unspeakably ugly blend mode?
| | 04:37 | The reason is- I'm going to go ahead and press Ctrl+Tab to
switch back to the Blend mode keys.psd document, where I've
| | 04:45 | turned on the fill opacity layer- and you can see that
Hard Mix is one of those blend modes, along with Linear Light
| | 04:52 | and Vivid Light, by the way, that are
uniquely subject to the Fill Opacity value.
| | 04:58 | So let's go back to our composition in progress, our extremely
diminished composition in progress at the present moment in time,
| | 05:06 | and let me show you what happens if you
are to back off the Opacity value to say,
| | 05:12 | let's go ahead and take it down to 10% by pressing the 1 key.
| | 05:16 | You'll see that this just results in a very translucent
version of the Texture layer, but we're still ending up with
| | 05:23 | those same eight colors and nothing more,
blended in with the layers below.
| | 05:29 | So we get a faded, sort of ghosted effect
that I don't think looks all that great.
| | 05:33 | So I'll press Ctrl+Z or Cmd+Z to undo that
opacity setting, and that was a result of reducing
| | 05:39 | the Opacity value to 10%.
| | 05:41 | Let's now press Shift+1 to reduce the Fill Opacity to 10%,
and notice how we get a considerably different option.
| | 05:49 | This time we're not limited to our eight colors, we are taking
advantage of the entire range of muted colors here inside of the
| | 05:58 | image, and we get some very smooth, usable transitions,
thanks to combining Hard Mix along with the Fill Opacity value.
| | 06:06 | Well imagine, if we start with Hard Mix and
we get such a great effect, what if we start
| | 06:11 | with something that's more useful. Like, let's say, Vivid Light.
We'll go ahead and switch to the Vivid Light blend mode here, and
| | 06:19 | we get a slightly different effect, because we're working with such
a reduced Fill Opacity value. I'm going to go ahead and press the
| | 06:25 | Escape key, and I'm going to return the Fill Opacity value
to 100% by pressing Shift+0. So this is the standard
| | 06:33 | application of the Vivid Light effect. Compare that to
pressing Shift+2, which is what I'd like you to do if
| | 06:39 | you're working along with me, Shift+2,
| | 06:41 | to reduce the Fill Opacity value to 20%, and we get this
wonderful, I think, just wonderful sort of interaction
| | 06:50 | between this crackled marble pattern
and the layers below, this sort of
| | 06:56 | ancient Michelangelo carving below. That is the effect
that I want you to apply. So once again, this is a
| | 07:03 | result of taking the extremely aggressive Vivid Light
mode and tempering it using a Fill value of 20%.
| | 07:12 |
| | Collapse this transcript |
| The comparative modes| 00:00 | Our next topic are the comparative modes, and those include
just two modes inside the Blend Mode pop-up menu, Difference
| | 00:07 | and Exclusion, both of which use a layer in order to invert
the colors in the layers below them. Let me show you what
| | 00:14 | I'm talking about here. I'm going to switch to the Statue
layer inside my ongoing Sky & statue.psd composition.
| | 00:21 | This layer currently has a Linear Burn mode applied to it.
I'm going to switch from Linear Burn to Difference,
| | 00:29 | and we get an inverted version of the face. But it's
a controllable inversion, it's not strictly the kind
| | 00:36 | of inversion you would get by choosing
Image, Adjustments, Invert, for example.
| | 00:41 | It's much more selective, and it's organic to the image. So
you're actually merging the Statue layer and blending it with
| | 00:48 | the layers below. So here's what's going on.
Any place where the layer is white,
| | 00:52 | anywhere where the Statue layer is white,
| | 00:55 | completely inverts the layers in back of it. Anywhere where
the Statue layer is black, in the shadows here, you don't
| | 01:01 | get any inversion whatsoever. And where like colors
run into each other, they cancel each other out,
| | 01:07 | and the image turns black.
| | 01:09 | So as a result we get this sort of eerie luminescent
glow to this image, a sort of underglow to it.
| | 01:15 | The Difference mode is another one of those modes that responds
differently to Fill and Opacity, to the Fill and Opacity
| | 01:22 | values here inside the Layers palette. So I'm going to go
ahead and raise the Fill value to 100% by pressing Shift+0.
| | 01:28 | And just for the sake of demonstration here, I'll take
the Opacity value down to 70% by pressing the 7 key,
| | 01:34 | so we just get a weaker version of the Difference image.
| | 01:38 | Now I'll take it back to 100% by
pressing Ctrl+Z or Cmd+Z on the Mac,
| | 01:42 | and compare that to pressing Shift+7 to change the Fill
Opacity to 70%. So instead of having the interior of the
| | 01:51 | image turn a sort of weird green color, we end up
getting a robust purple this time, sort of this
| | 01:59 | organic violet, as it turns out, which I think is really nice.
| | 02:02 | So just remember, Difference is another one of these that
responds differently to Opacity and Fill. Now it has a variation
| | 02:10 | called Exclusion that does not respond
differently to Opacity and Fill as it turns out.
| | 02:16 | It behaves, I think, in a lesser fashion. Exclusion is one of
the blend modes I really don't have a lot of use for. But I'll
| | 02:22 | tell you how it works. White goes ahead and inverts, just
like before. Black is not inverted all. Similar colors, that is
| | 02:29 | similar colors in the Statue that match more or less the
colors in the Gradient and Background layers, don't so much
| | 02:35 | cancel each other out as turn gray. So you'll have
a lot more colors turning gray inside of the image.
| | 02:42 | Not really what I'm going for in this case, so I'll go ahead
and undo that modification so I can return to the Difference mode.
| | 02:48 | And I'm going to leave this image set like this, Difference
mode and Fill Opacity of 70% for the moment, applied to the
| | 02:55 | Statue layer, we're sort of playing around here. Now, you might
think, okay well there's another mode to add to your list of
| | 03:01 | blend modes, but why in the world would you ever really
use Difference other than to achieve some sort of
| | 03:07 | weird psychedelic inversion effect? Well,
let me show you. The Difference mode can be
| | 03:12 | very useful for finding differences between images.
I'm going to go ahead and press Ctrl+Tab here in order to
| | 03:20 | switch to another image that I have
open. It's called Three Giulianos.psd,
| | 03:24 | and it is indeed three copies of the
Michelangelo sculpture of Giuliano de Medici.
| | 03:30 | And this image can be found by the
way inside the 15 Blend Modes folder.
| | 03:34 | Now, you should see giuliano 2 selected inside the Layers
palette. Giuliano 1 for the moment should be turned off.
| | 03:42 | I want you to go up to the Filter menu, and I want you to
choose the Noise command, and I want you to choose Median.
| | 03:49 | What we're going to do is just run a comparison between the
Median filter and the Gaussian Blur filter. So let's go ahead
| | 03:55 | and set the Median filter to a Radius of 10 pixels and then
click OK. Sure enough, we get sort of this rounded edges effect,
| | 04:03 | just as we might expect from having
learned how the Median filter works.
| | 04:07 | Alright, now I'm going to click on the giuliano 1 layer
and turn it on, and let's go ahead and apply the Gaussian Blur
| | 04:15 | filter to this image. I'll go to the Blur menu under the Filter
menu, and then I'll choose Gaussian Blur, and I will enter
| | 04:21 | once again a Radius value of 10 pixels and I'll click OK.
| | 04:25 | So we now have a blurred version of Giuliano on one layer and a
Median version of Giuliano on another layer. Let's go ahead and
| | 04:32 | compare those two layers by going up to the Blend Mode pop-up
menu and choosing the Difference command, which allows us to
| | 04:40 | figure out exactly where the differences are. So anywhere where
we see black, there are no differences. The two layers are
| | 04:46 | identical to each other. Anywhere where we see any other
colors going on, those represent the differences between the
| | 04:52 | two layers. Now our differences are looking pretty murky at this point.
| | 04:56 | Let's boost the contrast by merging the two layers
together and then applying the Levels command.
| | 05:03 | So I want you to go to the Layer menu,
with giuliano 1 selected, by the way,
| | 05:07 | and choose the Merge Down command, or you can press
Ctrl+E if you like, Cmnd+E on the Mac, to merge those two
| | 05:13 | layers together. So now we have a single layer called
giulano 2 that is the Difference blend of the Median and
| | 05:21 | Gaussian Blur effects.
| | 05:22 | Now I'm going to press Ctrl+L in order to bring up
the Levels command. That's of course Cmd+L on the Mac, and
| | 05:29 | I'm going to drag this white slider triangle
over to the side of the histogram,
| | 05:34 | until I get a final Input Levels value of 50. So I'm saying
anything with the brightness value of 50 or lighter,
| | 05:43 | make white. So we're creating a lot of highlights inside of this Difference image. We'll go ahead and click OK, and now you can
| | 05:50 | really see where the differences are occurring. I'll go ahead
and zoom in to this hair and ear region right here. The sort of
| | 05:58 | striation patterns, these little sort of cross-hatched rectangle
patterns going on, those are a function of the Median filter.
| | 06:05 | And then the soft glows that you can see around the eyes
and so forth, that's a function of the Gaussian Blur filter.
| | 06:12 | Now I'm going to take this giuliano 2 image that I've
sort of created as a combination of Median and Gaussian
| | 06:19 | Blur and of course the Difference blend mode, and I'm
going to blend it with the giuliano 3 image in back,
| | 06:26 | which is just the original image. If you turn off giuliano 2,
you'll see that giuliano 3 is an unmodified version of the statue.
| | 06:33 | Alright so I'll turn giuliano 2 on once again, and I'm going
to switch this to the Color Dodge mode, so we keep just the
| | 06:40 | highlights, and we're going to have some nice, bright,
vivid highlights associated with this image. I'll press the
| | 06:47 | Escape key to deactivate the Blend Mode pop-up menu. I'm going to
zoom in actually another click, so that we can see the image at
| | 06:53 | 100% view size, and I'm now going to press Shift+5
in order to reduce the Fill Opacity value to 50%.
| | 07:01 | So we just get these nice highlights, some nice,
| | 07:03 | eye-popping highlights here around the edges of some of the
more interesting portions of the image. So this is without
| | 07:12 | the giuliano 2 layer; this is with that giuliano 2 layer.
An interesting effect that we're able to achieve by finding the
| | 07:19 | differences between two filtered effects here inside Photoshop.
| | 07:25 |
| | Collapse this transcript |
| The composite (HSL) modes| 00:00 | Now let's take a look at the composite blend modes, also known
as the HSL modes. I'm going to go ahead and switch back to
| | 00:08 | my Sky & statue.psd image in progress here. And you know
what, let's go ahead and save out a layer comp at this point,
| | 00:16 | because I've done a lot of work. So I think I'll go ahead and click
on my Layer Comps icon. I'll create a new layer comp by clicking
| | 00:22 | on the page icon. Make sure that the Appearance checkbox
is turned on, Visibility should be turned on as well,
| | 00:29 | and I will call this Difference mode,
| | 00:31 | because I'm probably going to switch away from
that mode before we're done here, and I'll click OK.
| | 00:36 | And just to make sure that things are in order, I will move
that to the third position here by dragging it up the stack.
| | 00:43 | So I now have Opaque layers, the original Opaque layers, Face
to LBurn looks pretty good, and Difference mode. Quite a few
| | 00:50 | changes made. Ultimately we're going to get to something along
these lines right here, the Blend mode madness layer comp.
| | 00:57 | Anyway, let's return to Difference mode,
if you're following along with me.
| | 01:00 | I want you to click on the Slight blue item,
the Slight blue layer here inside the Layers palette,
| | 01:06 | and also turn it on so it's visible.
| | 01:09 | And you can see what it is, it's a very low-grade
blue to transparent gradient sitting on its own layer,
| | 01:16 | and I'd like to use it to experiment with this set of
modes down here. As I say, they're sometimes called the
| | 01:22 | composite modes, which is why, by the way, the engineers have
elected to include the Lighter Color and Darker Color items
| | 01:29 | inside of this area, because they are composite lightening
and composite darkening effects. I totally agree with that
| | 01:36 | rationale. But anyway, that's why they're there. What really
binds the other modes together, however, is not so much
| | 01:42 | their composite behavior, but rather the HSL mode
that they subscribe to, Hue, Saturation and Luminosity.
| | 01:51 | And you may recall that Hue plus Saturation equals Color.
So you can divide colors up into those properties.
| | 01:58 | So in other words, if I were to apply
the Color mode to the Slight blue layer,
| | 02:02 | I would go ahead and keep the color of the Slight blue layer
| | 02:06 | and let the Luminosity values, that is the Brightness
values, from the underlying layer show through.
| | 02:13 | If I were to switch to Luminosity instead, which is the
opposite of Color, then I would keep the Luminosity values that
| | 02:20 | are associated with the Slight blue layer, and I would let the
color values from the underlying layer show through.
| | 02:26 | That doesn't turn out to be that great-looking of an effect.
| | 02:29 | Color certainly looked a lot better.
So I'm going to go ahead and press the Escape key
| | 02:32 | to make sure that the Luminosity value is no longer active,
then I'll press Ctrl+Minus to back up to the Color mode,
| | 02:39 | then I'll press Shift+Minus to back up to the Color mode,
| | 02:42 | then just to get a sense of what the other two modes do.
As I mentioned just a moment ago, Color is made up of Hue and
| | 02:49 | Saturation so we can peel it apart. Here's what things look
like if we just keep the saturation values from the Slight
| | 02:56 | blue layer and mix them with the Luminosity and Hue values
from the layers below. And here's what the image looks like
[00:03:04.0 7]
if we mix the Hue values from the Slight blue layer with
| | 03:09 | the Luminosity and Saturation values from the layers below.
And of all the modes that we've seen so far here, I think this
| | 03:15 | looks the best. In other words, Hue does the best job of mixing
the Slight blue layer along with the other layers in the stack.
| | 03:23 | So I'm going to settle on Hue, and by the way all of these
guys have keyboard shortcuts, it's Shift+Alt+Y or Shift+Option+Y
| | 03:31 | for Luminosity, Shift+Alt+C or Shift+Option+C
for Color, Shift+Alt+U or Shift+Option+U for Hue.
| | 03:38 | While I almost never use the Saturation mode, it is
Shift+Alt+T or Shift+Option+T, for Sat, the last letter
| | 03:47 | in Sat there. Anyway, let's stick with Hue for now.
And to go ahead and finish off all of the layers except
| | 03:55 | for the text layers, I'm going to switch back yet again to
the Statue layer, and I'm going to change its mode setting from
| | 04:01 | Difference- I'll go ahead and press the Escape key so that
mode option is no longer active- I'm going to switch it from
| | 04:08 | Difference to Luminosity
| | 04:09 | by pressing Shift+Alt+Y or Shift+Option+Y on the Mac,
| | 04:13 | and we end up getting this effect right here.
| | 04:16 | Which I find to be highly pleasing. It does a great job of
mixing this background with the image, with the marble
| | 04:25 | texturing, which I think looks really really great
at this point, with that color. So we get an nice
| | 04:31 | transition from the blue inside of the statue face here and
the warm colors of the sky region in the background.
| | 04:39 | So this is our more or less final version of the composition.
So why don't we go ahead and save that out as yet another
| | 04:46 | layer comp, go ahead and click on the Layer Comp icon if
you're working the way I'm working, or you might choose
| | 04:50 | the Layer Comps command from the Window menu.
| | 04:53 | Then click on the page icon
| | 04:55 | and name this guy Almost done, or something along those
lines. Make sure that the Appearance checkbox is turned on,
| | 05:01 | Visibility should be turned on as well, and click the OK button.
| | 05:04 | And now we have several different Layer Comps to work on. I'll
move the layer Almost done above Blend mode madness, and you
| | 05:11 | can see that I've made a few different decisions here
between these two items. If you want to click in front of
| | 05:16 | Blend mode madness, you'll see something of a change. Not only
will you see the text appear onscreen, that's the biggest difference
| | 05:22 | of course, but you'll also see a difference in the marbling
texture. Notice that we have more of a hot marbling texture
| | 05:30 | going on inside of our composition thus far than I assigned
| | 05:34 | when I was building this composition in the first place.
I like what we're doing now better, as it turns out.
| | 05:40 | Anyway there is our composition as it stands. We've
seen every single one of the blend modes. Whew!
| | 05:48 | What an exhaustive if brief overview, if I do say so myself.
| | 05:52 | In the next exercise we'll check out a couple of blend
modes that are not available to the Layers palette
| | 05:58 | because they're applicable to the Brush tool.
| | 06:00 |
| | Collapse this transcript |
| The brush-only modes| 00:00 | In this exercise, I'm going to show you a couple of blend modes
that are not found inside the Layers palette. Even though they
| | 00:06 | are applicable to layers, you have to apply a them using
a painting tool or the Fill command under the Edit menu.
| | 00:14 | You may recall these guys from our blend mode keys document. I'm
going to switch to that document. This is the Blend mode keys.psd
| | 00:22 | document that's found inside the 15 Blend Modes folder.
| | 00:26 | And if you scroll to the bottom of the document, it
mentions the brush-only modes, which are Behind and Clear,
| | 00:33 | these guys right there.
| | 00:34 | Airbrush is not a blend mode, it's
just an option that happens to have
| | 00:38 | a keyboard shortcut assigned to it.
| | 00:40 | But Behind and Clear are authentic blend modes, at least
they're treated as blend modes inside the program. They work
| | 00:46 | a little differently than the blend
modes we've seen so far, though.
| | 00:50 | Alright, so I'll switch back to the Sky & statute.psd
image and I'm going to go ahead Alt+click or
| | 00:56 | Option+click on the eyeball in front of the Statue layer,
so that we're seeing the layer by itself without any other layers
| | 01:02 | going on inside the document, and I'm going to press
Shift+0 in order to raise the Fill value to 100%,
| | 01:10 | so that we're seeing the image by itself.
| | 01:12 | Notice that we're seeing a normal version of the
image, even though it's set to the Luminosity mode,
| | 01:17 | because there's no other layers to interact with it.
It just shows us the normal version of the image,
| | 01:24 | which can be handy for experimentation as it turns out,
and that's what we'll be doing. I want you now to grab this
| | 01:30 | tool right here, the Brush tool, which you can
also get by pressing the B key if you want,
| | 01:34 | and I'm going to increase the size of my Brush pretty
significantly here. Something along the lines of a 100-pixel
| | 01:41 | Brush will do nicely. And it's a soft Brush as
well, the Hardness value is set to 0% right now.
| | 01:46 | And I'm going to switch my foreground color to 255 red
| | 01:51 | and 0 green and 0 blue, so that I have a solid red Brush
going on. Now currently the mode is set to Normal.
| | 01:58 | Notice that we have all the blend modes available to us,
every single one of those 25 blend modes that are available
| | 02:05 | inside the Layers palette are also available to us when we
are using the Brush tool, plus two more. We also have Behind
| | 02:11 | and Clear in the top section of the Blend Mode pop-up menu.
So I'm going to just go ahead and press the Escape key
| | 02:18 | a couple of times so that blend mode option
is no longer active and I'm going to paint,
| | 02:22 | just so that we can see the results of the Normal
mode. That is normal painting for you, nothing
| | 02:27 | special going on. I'll press Ctrl+Z to undo that brush
stroke. Now I'm going to press Shift+Plus in order to
| | 02:33 | advance to the next blend mode, which is Dissolve.
Notice because I have a Brush tool active, I don't change
| | 02:40 | the blend mode associated with the layer,
| | 02:42 | I change the blend mode that's
associated with the Brush instead.
| | 02:46 | And if I paint in the Dissolve mode, you can see that I
get this dithered edge to my brush, so that I get sort of a
| | 02:53 | weird pixilated spraypaint effect. Kind of nifty, might find
a use for it. I don't tend to work this way, but you know,
| | 03:00 | there it is. I'm going to press Ctrl+Z to undo that brush
stroke once again, and then I'm going to press Shift+Plus
| | 03:05 | to advance to the Behind mode. Now what the Behind mode
does is it allows you to paint strictly behind an image.
| | 03:12 | And wait one second, I'm actually going to
back up just as a sideline here. I'm going to
| | 03:16 | back up to the Normal mode once again by
pressing Shift+Minus a couple of times.
| | 03:21 | If you want to paint exclusively inside the confines of a layer,
| | 03:25 | you may recall you can do that
| | 03:27 | by turning on this first Lock option, the one that locks the
transparent pixels. So I'll go ahead and click on that option,
| | 03:34 | and now were I to paint inside the layer,
| | 03:37 | I would only paint inside the layer.
| | 03:40 | I'm always painting inside the lines. Compare that to the Behind
mode. So I'll go ahead and undo that modification, I'll turn off
| | 03:47 | Lock. It's very important that you unlock the transparent
pixels for this next step to work. And then I'm going to switch
| | 03:53 | from the Normal mode to the Behind mode.
| | 03:56 | And now if I paint, I paint only outside of the
layer. So the Behind mode, the Behind blend mode,
| | 04:03 | is the exact opposite
| | 04:05 | of locking the transparent pixels. Those two options, even
though they are exact opposites of each other, are expressed
| | 04:11 | in very different ways inside of the program.
| | 04:14 | So anyway, the Behind mode allows me to paint exclusively
inside of the transparent portions of the image. And were I
| | 04:22 | now to switch to a different color, like I'll switch
to sort of a dark green here, and paint again,
| | 04:27 | I would paint exclusively behind not only the face, but also
the red brush strokes that I added a moment ago. Finally,
| | 04:34 | we've got the Clear mode available to us. I'll
go ahead and choose that mode from the menu.
| | 04:39 | The Clear mode strictly turns the the paintbrush into an eraser.
| | 04:44 | So notice now that I'm erasing away colors.
| | 04:48 | That's what the Clear mode does. Not really anything super
special, and not super unusual either, cause if you want
| | 04:54 | that behavior you could just switch to the Eraser tool as well.
But that's what the Clear mode does. Alright, I'm going to
| | 05:00 | go ahead and undo those last few modifications, so I'll restore
the original version of my layer by pressing Ctrl+Alt+Z,
| | 05:08 | or Cmd+Option+Z on a Mac.
| | 05:10 | Three times in a row in my case. Then I'm going to press
Shift+Alt+N, or Shift+Option+N, in order to switch back
| | 05:16 | to the Normal mode. I want to show you the same modes
applied from the Fill command. So I'll select a region
| | 05:23 | using the Marquee tool,
| | 05:24 | I'm going to go ahead and select a region of the image.
| | 05:28 | I want to make sure that my rectangular marquee
| | 05:31 | goes inside of the image as well as outside of the image,
that is to say inside the layer and outside the layer.
| | 05:39 | And I'm going to restore red as my foreground color.
| | 05:42 | Then I'm going to go up to the Edit
menu and choose the Fill command.
| | 05:47 | And notice once again that we have blend modes available to us.
Make sure, by the way, that Use is set to Foreground Color.
| | 05:53 | Then notice that we have blend modes and opacity settings
available to us, and I've got my big list of blend modes,
| | 06:01 | including those modes that are available to us when using
the Brush tool, Behind and Clear. Now as things stand right now,
| | 06:08 | I'm not seeing Lighter Color or Darker Color. Who knows if
that's going to change in the final released version of
| | 06:14 | Photoshop CS3, but in my beta version those blend modes
are missing. Alright, I'm going to try the Behind mode
| | 06:20 | right here, and I'll clicked OK,
and notice I just fill the region
| | 06:23 | behind the face. I don't fill into the face at all.
| | 06:26 | Alright, so I'll go ahead and press Ctrl+Z once again to
undo that modification. I'm going to choose the Fill command
| | 06:32 | once more so that you can see the effects of the Clear blend
mode, but I'll do it in a different way. I'm going to do it
| | 06:38 | from the keyboard. The keyboard shortcut for the Fill command
is Shift+Backspace, believe it or not, an undocumented-
| | 06:45 | it doesn't appear in the Edit menu- an undocumented keyboard
shortcut for Fill. And that's Shift+Delete on the Macintosh
| | 06:51 | side of things. I'm going to switch the mode from
Behind to Clear, and then I'm going to click OK and
| | 06:56 | sure enough,
| | 06:57 | I used the selection in order to cut a hole. Now I could
have done that just as easily by- I'll go ahead and undo that
| | 07:04 | modification- I could have done that just as easily by
pressing the Backspace key, or the Delete key on the Mac,
| | 07:08 | but there it is, there's the Clear mode. I just want you to know
every single mode that's available to you inside of Photoshop.
| | 07:15 | Go ahead and restore the original version of the layer.
| | 07:19 | I want you to make sure that it's
not all messed up on the pixel level.
| | 07:22 | But you don't have to restore the Fill Opacity value and all
the other layers because, if you went ahead and saved the
| | 07:28 | layer comp in a previous exercise,
you can just restore that layer comp
| | 07:32 | by going to the Layer Comps palette
and clicking in front of Almost done.
| | 07:37 | Again, that's if you've been working along meticulously with
me here. Then you will restore every single ingredient of
| | 07:44 | that composition. Now, it's important that you don't have
any pixel-level modifications, that is to say your brushstrokes
| | 07:51 | should be undone, and your Fill effects should be undone as well,
| | 07:55 | because Layer Comps only tracks parametric modifications,
that is blend mode modifications, Opacity settings, Fill settings,
| | 08:02 | and so on inside of the image. In the next exercise, we're going
to finish off this composition by bringing in a little bit of text.
| | 08:11 |
| | Collapse this transcript |
| Blending groups| 00:00 | In this exercise we're going to finish off our composition
by adding the text elements and in doing so we'll learn how you
| | 00:07 | blend the groups inside of Photoshop. Assuming that you've
been working along with me inside of this skyandstatue.PSD image
| | 00:16 | that's found inside the 15 blend modes folder, then
your composition should look something like this one.
| | 00:22 | I'd like you to go ahead and turn on the text elements
group that's at the top of the layer stack right there.
| | 00:29 | And by clicking in front of the folder, you should make
visible both the editable text, the line of editable text,
| | 00:35 | that says Michelangelo.
| | 00:37 | Along with a little bit of Motion Blur trail underneath the text
and I'll go ahead and show you how I created that Motion Blur trail.
| | 00:44 | Twirl open the text elements group.
| | 00:46 | Turn off for the Motion Blur layer for now so that we can create
a new one. Then I want you to click on the editable text layer,
| | 00:53 | which will look like a big T here in side of the layers palette
and then go and press Control+J or Command+J on the Mac
| | 01:01 | to jump to the text to a new layer and I'll also press Control+
Left bracket or Command+Left bracket on the Mac in order to move
| | 01:08 | that new layer underneath the original and I'll rename it
'Mblurred' because we'll be assigning the Motion Blur filter to it.
| | 01:16 | Now go up to the Filter menu and choose Blur,
Motion Blur, like so and as soon as you do,
| | 01:23 | because you have an editable text layer selected.
| | 01:26 | Photoshop will ask you, "Hey, in order to filter this text layer,
I need to rasterize the type in advance." Now this isn't
| | 01:33 | the way you have to work. Thanks to Smart Filters inside
Photoshop CS3, you can first convert the text to a Smart Object
| | 01:41 | and then apply an editable nondestructive filter to it,
but in our case it's just simpler to go ahead and rasterize
| | 01:49 | that type. So I'll click OK in order to proceed.
| | 01:52 | And I'm going to change the values like you see here.
An Angle value of 90 degrees and a Distance value of 100 pixels
| | 01:59 | and I'll click OK in order to accept the modification and
finally I've pressed Shift+Control, or Shift+Command on the Mac,
| | 02:06 | Shift+Control+Down arrow five times in a row
in order to get this effect right there.
| | 02:12 | Anyway, I just wanted to show you how the effect was created.
Let's go and get rid of it now because we don't need it.
| | 02:18 | That's just a lesson in what I did, just in the name of complete coverage
here. So I'll Alt+click on the trash can or Option+click on a trash can
| | 02:26 | in order to delete that layer and I'll turn on
my original Motion Blur layer here and I'm not deleting,
| | 02:32 | notice I was careful not to delete the Motion Blur layer
because I want to keep my layer comps happy. Any time
| | 02:36 | you throw away a layer, the Layer Comps get grumpy at you.
So anyway we've got this Michelangelo layer and we've got
| | 02:43 | the Motion Blur layer. I want to make both
of the layers a little bit translucent so I could
| | 02:48 | go ahead and reduce the opacity settings for each one of
the layers, but let's say that I want to reduce both layers
| | 02:55 | to 70% opacity. The easier way to pull that off, as opposed
to applying an opacity level of 70% first to the text layer
| | 03:02 | and then to the Motion Blur layer,
| | 03:04 | is to simply affect the entire group. Notice that it has
an opacity value associated with it. Fill by the way is not
| | 03:11 | available to you when you're working with groups. A little sad
actually because that means you don't have access to some of
| | 03:17 | those special blend mode functions. But anyway, I'd now press
the 7 key in order to reduce the opacity of both layers to 70%.
| | 03:26 | Notice we also have a blend mode setting. You can choose from any
of the blend modes to assign a blend mode to the group as a whole,
| | 03:33 | or you've got this default guy called Pass Through.
And what Pass Through does is it applies no special blend mode.
| | 03:40 | It just goes ahead and accepts what ever blend
modes you have assigned to the individual layers,
| | 03:45 | but Pass Through isn't always your best setting. Let's
imagine for example that I want to make this text blue.
| | 03:52 | I want to make both the text and the shadow blue and
I want to burn that blueness into the background.
| | 03:58 | How might I go about doing that? Well first I would click on the T
here, on the Michelangelo layer, in order to make it active.
| | 04:05 | And then I would go down to this little black-white
icon and choose the Hue Saturation command.
| | 04:13 | I'll turn on the Colorize checkbox in order
to assign a color to the text as a whole and
| | 04:18 | notice that I'm affecting not only the text,
| | 04:21 | but the entire image as well because I'm creating an
adjustment layer and an adjustment layer by definition affects
| | 04:28 | all layers below it by default.
| | 04:30 | All right. Let's change the Hue value to 210, which is sort of
a cobalt blue. I'm then going to raise the Saturation value to 50
| | 04:38 | and I'm going to raise the Lightness value to 30. Now
I was telling you in an earlier chapter, way long ago,
| | 04:45 | that you really don't want a use the Lightness value
when you're working with the Hue Saturation command.
| | 04:49 | One of the big exceptions is when you are
colorizing something that starts out as black.
| | 04:54 | Because this text was black, in order to make the text some other color,
| | 04:59 | I need to raise its Lightness value.
| | 05:01 | Alright, so these are my values: 210, 50 and 30.
| | 05:05 | With Colorize turned on. Then I'm going to click the OK
button in order to accept that modification. Now as I say
| | 05:11 | I've colorized everything inside the image so
I need to bring up my Layers palette once again.
| | 05:17 | And instead of having my group set to Pass Through,
which allows the adjustment layer to flow through,
| | 05:24 | outside of the group to other layers in the stack,
| | 05:27 | I'm going to go ahead and click on the group,
| | 05:29 | and I'm going to change its mode to Normal. Basically
anything except Pass Through will contain the adjustment layer
| | 05:37 | inside of the group. And notice right away,
| | 05:40 | I go ahead and contain that Hue Saturation adjustment
to just the text and nothing else inside the image.
| | 05:46 | But I really want to burn that text to its background,
| | 05:49 | so I'm going to change the blend mode to Linear Burn like so
| | 05:54 | in order to get this effect right here.
Now as I say you don't have Fill Opacity control,
| | 05:59 | when you're working with the group. It's too bad because
it would be useful for some of these Burn and Dodge,
| | 06:04 | and Vivid Light and Linear Light and Difference and all those guys.
| | 06:07 | Alright anyway, let's go and hide that Layers
palette so that we can focus in on the image here.
| | 06:12 | And just because I want to be tidy as all get out,
I'm going to go and save a final layer comp.
| | 06:17 | I'll go ahead and click on the little page icon. Make sure
that the Appearance and Visibility checkboxes are turned on.
| | 06:24 | And I will call this one 'final comp!'
| | 06:28 | Then click OK in order to create that final version of the image.
So this was the blend mode madness version that I showed you
| | 06:35 | at the outset of this chapter, and this is the final comp
that you and I have created together. Looks so much better
| | 06:42 | then that blend mode madness version in my opinion.
This is the final version of the image. I'm going to go ahead
| | 06:48 | and Tab away my palettes so that we can focus
in on just the image itself. Congratulations!
| | 06:53 | You have created this amazing blended composition without harming
| | 06:58 | a single pixel inside the image, thanks to the parametric capabilities
of blend modes and opacity and fill levels inside of Photoshop.
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|
|
16. Transform, Warp, and LiquifyAt this point, there is a great shift...| 00:01 | This is an interesting chapter. It marks the beginning of a
sidebar from everything we've seen so far. See Photoshop is
| | 00:08 | ultimately two programs. On one hand it's the photographer's
tool. A program that lets you correct an image until it's
| | 00:14 | a work of absolute perfection.
| | 00:16 | On the other hand, it's the designer's friend, permitting
you to take images from a dozen or more sources and composite
| | 00:22 | them into a seamless mind blowing whole.
W-H-O-L-E by the way as in the sum of its parts.
| | 00:29 | In other words, you have the vision.
| | 00:31 | Photoshop delivers in post.
| | 00:34 | In this chapter we're solidly in designer's territory. We'll see
how you take a bunch of layers and make them serve your ultimate
| | 00:40 | and absolute needs. You can scale a layer, rotate it,
slant it, distort it and apply a series of rather interesting
| | 00:47 | envelope style warps, by which I mean-
| | 00:50 | you'll see.
| | 00:51 | Plus, you can paint custom distortions.
I can't even tell you how cool-
| | 00:56 | let me show you.
| | Collapse this transcript |
| Messing with the masters| 00:00 | Alright, so, how is it going, hanging in there, having fun?
| | 00:04 | I hope you are having fun, good, sounds good, awesome.
| | 00:08 | I am just sitting here anticipating your answers.
| | 00:09 | Of course, I have no idea what you are
saying, if indeed you are talking at all.
| | 00:13 | In these first few exercises, we will be taking the
works of several different high renaissance artist
| | 00:18 | and we will be marrying them together in
a fairly elaborate layered composition.
| | 00:23 | So to start things off, I would like
you to open this image right here.
| | 00:25 | It's called Cardinale tondo and it's found inside
the 16 Work Liquify folder that's available
| | 00:31 | to you inside the exercise files folder, and it features the
works of a handful of different high renaissance artists.
| | 00:38 | Starting with the cardinal of the title of the image, brought
to us by none other than Raphael, great painter, wonderful guy.
| | 00:47 | And I have set the image inside of
this frame that's normally associated
| | 00:52 | with a piece called Doni Tondo that's
hanging in the Uffizi Gallery in Florence.
| | 00:56 | Doni Tondo is the rare oil on panel painting, oil
on wood panel as it turns out, by Michelangelo.
| | 01:04 | I have gone ahead and stripped that rare painting
out of the frame and just kept the frame.
| | 01:08 | Now, the frame is supposedly was designed in part at least by
Michelangelo, but it was executed by Giotto or Brunelleschi
| | 01:17 | or Ghiberti, one of those dudes that
helped carve the Duomo Baptistry Doors
| | 01:21 | in Florence, if you have ever seen those awesome doors.
| | 01:25 | And then I have set the entire thing
against this Fresco by a Michelangelo.
| | 01:29 | So Michelangelo still has a part
to play inside of this composition.
| | 01:32 | But I figure, I haven't done really enough
to defile the works of thee great masters.
| | 01:38 | So I am going to take the entire thing and turn it into a clock.
| | 01:42 | And I would like you to join me, if you will.
| | 01:45 | And I have got some clock parts available
to you, clockparts.tiff,
| | 01:49 | also available to you inside this 16 Work Liquify folder.
| | 01:53 | And this image comes to us from new low renaissance artist,
Nicholas Belton who sells his wares through iStockphoto.com.
| | 02:01 | And this guy has done a terrific job of
disseminating these various clock elements
| | 02:06 | so that we might build our own clock, totally awesome image.
| | 02:09 | And I have gone ahead and added a mask to the image
so that we can select the elements very easily.
| | 02:14 | In the next exercise, the first exercise in which
start building things and assembling our pieces,
| | 02:19 | we are going to take this clock face, we are going
to move it into the Cardinale Tondo composition
| | 02:23 | and we are going to scale the clock face to fit.
| | Collapse this transcript |
| Scaling a layer to fit a composition| 00:00 | Alright, so let's grab that clock face and scale it in the place.
| | 00:03 | You should have two images open if you are working
along with me, one is called clockparts.tiff
| | 00:08 | and the other is called Cardinale Tondo and they are
both available to you inside the 16 work liquify folder.
| | 00:15 | Go to the Channels palette and you will see in addition to the
RGB channels, you will see a Mask channel which I have created
| | 00:21 | for you to make the selection of these various pieces a little
bit easier, and it was pretty simple to create this Mask Channel.
| | 00:29 | I just duplicated the blue channel, inverted it and
increased its levels, a few other tricks as well.
| | 00:35 | But generally speaking, it wasn't very hard because after
all the elements are set against the white background.
| | 00:40 | I want you to load the channel as a selection
by pressing the Ctrl key or the Command key
| | 00:45 | on the Mac, and clicking on the Mask channel thumbnail.
| | 00:48 | Then, I want you to make sure that just
the clock face is selected, not the hands.
| | 00:53 | Let's go ahead and deselect the hands by Shift+Alt
dragging with Marquee tool or Shift+Option dragging
| | 00:59 | with the Marquee tool around the clock face, like so.
| | 01:03 | And if you need to use the Spacebar in order
to get that Marquee in the place, go for it.
| | 01:07 | But anyway, we are doing Shift+Alt or
Shift+Option Marquee so that we are going
| | 01:11 | to find the intersection of that
Marquee along with the clock face.
| | 01:15 | Once you have the clock face and only the clock face selected,
go ahead and press the Ctrl key or the Command key on the Mac,
| | 01:21 | and do a drag-and-drop, go ahead and drag that
clock and drop it into its new background.
| | 01:26 | Yo don't have to worry about pressing the Shift key on the
drop, we're just pressing the Ctrl key or the Command key
| | 01:32 | in order to temporarily access the Move tool.
| | 01:35 | Now, the clock face is way too big and by the way,
it should appear as you are seeing it here on screen
| | 01:41 | that is directly behind the frame layer
but in front of all the others layers.
| | 01:44 | And if you want to check that, you can go over to Layers
palette and make sure that this new Layer 1 is the second layer
| | 01:51 | from the top in the stack here inside the Layers palette.
| | 01:54 | I will just go ahead and call it Face as in
clock face and then, I will press the Enter
| | 01:58 | or Return key in order to accept that modification.
| | 02:00 | The clock face is way too big and I am also going to press
the F key in order to switch to the Full Screen mode.
| | 02:06 | So we don't have any distracting elements in the background here.
| | 02:08 | Now, as I said, the clock face is way
too big, it's taking up too much room.
| | 02:13 | So I need to scale it.
| | 02:14 | And to scale a layer, you go up to the Edit menu and you choose
the Free Transform command, that you don't have to work that way,
| | 02:21 | you could go to the Transform command directly below a Free
Transform and then you could choose one of the specific items,
| | 02:29 | the specific types of transformations
from the Transform popup menu.
| | 02:33 | For example, you could say I want to scale this image,
so I will go ahead and choose the Scale command.
| | 02:37 | The advantage of using the Free Transform command is that it
allows you to scale, rotate, skew, distort, apply a perspective
| | 02:44 | and warp and do all these other stuff from one
convenient mode, so you don't have to lock yourself
| | 02:50 | into one particular kind of transformation or other.
| | 02:54 | Plus, Free Transform has a keyboard shortcut, a very easy one
to remember as well, just press Ctrl+T or Command+T on the Mac.
| | 03:02 | Alright, as soon as you choose the command, you may
get an effect like this where you see some but not all
| | 03:08 | of the transformation boundary that surrounds the clock face.
| | 03:12 | So I am seeing right here in the center of the clock face and the
center of the hole, I am seeing a little transformation origin
| | 03:18 | that shows me the point around which
the transformation will occur.
| | 03:22 | I happen to also be seeing the top of my transform
boundary, but I need to be able to see all of the handles.
| | 03:27 | So I am going to go ahead and zoom
out and the easiest way to zoom out so
| | 03:31 | that you can see the Transform Handles inside a Photoshop
is to just press Ctrl+0 or Command+0 on the Mac.
| | 03:38 | And as soon as you do that, Photoshop will take
you out as far as you need to go out in order
| | 03:42 | to see the entirety of the transformation boundary.
| | 03:46 | Alright now, I am going to move my cursor over one of these
corner handles and I am going to go ahead and Shift-drag.
| | 03:54 | Now, the reason I am pressing the Shift key
is because I want a proportional resizing.
| | 03:59 | And this ensures that the width and the height of
the clock face are affected by the same percentage,
| | 04:05 | they are both being scaled uniformly so that I don't
get one of these stretched effects like this here.
| | 04:11 | Alright, I have gone ahead and stretched the clock face.
| | 04:13 | I don't want that.
| | 04:14 | So I am going to take advantage of my one Undo that I have
available to me when I am working inside the Transform mode.
| | 04:19 | Go ahead and press Ctrl+Z or Command+Z to
take advantage of that one level of Undo.
| | 04:25 | Then I am going to move my clock face up a little bit.
| | 04:27 | I can just drag inside the boundary in order to move it
to a different location and then I can continue to scale.
| | 04:33 | Now, notice that I have more or less center of
the clock face inside the frame at this point.
| | 04:37 | I am going to go ahead and zoom in as well,
so that I can better see what I am doing.
| | 04:41 | And I am zooming into the 66.7 zoom ratio, so things are going
to look a little bit jagged on screen, don't worry about that.
| | 04:48 | Now, if I have things centered, I may
want to transform a little differently,
| | 04:53 | I may want to scale not from one
corner to the other corner like that.
| | 04:57 | Alright, I will go ahead and undo that modification.
| | 04:59 | But I might want to scale with respect
to this center origin point right there.
| | 05:05 | And I will do that by pressing and holding
the Alt key or the Option key on the Mac.
| | 05:10 | So notice when you have that Alt or Option key
down, you will scale from the center point outward
| | 05:15 | which happens to be handy in this case anyway.
| | 05:18 | I also have the Shift key down by the way.
| | 05:20 | So I have both Shift and Option down, you have to have
those keys down throughout the entirety of your dragging.
| | 05:26 | And so you have to release the Mouse button before you
release the keys, otherwise things will switch on you
| | 05:31 | as you are dragging with the mouse cursor there.
| | 05:34 | Now, I am not nudging the clock face up a little
bit from the keyboard by pressing the Up arrow keys,
| | 05:40 | so you can nudge things around using
the arrow keys on the keyboard.
| | 05:43 | And of course, if you want larger nudging
increments, then you can press Shift along
| | 05:48 | with an arrow key, like I am doing right now.
| | 05:50 | Alright, I think this is pretty good actually and I will just
sort of take note that I have scaled the clock face by 44.4%.
| | 05:58 | So the Options bar is busy tracking your transformation up here.
| | 06:02 | And this is the width value and this the height
value, and they are the same because I took care
| | 06:07 | to press the Shift key as I was scaling the image.
| | 06:10 | Alright, that's it.
| | 06:11 | I am going to go ahead and accept the transformation
either by clicking on this little checkmark over here
| | 06:15 | on the right-hand side of the Options bar or by
pressing the Enter key or the Return key on the Mac.
| | 06:21 | And that's all there is to it.
| | 06:22 | I have now placed the clock face into the frame.
| | 06:26 | I have also scaled it so that it fits.
| | 06:29 | In the next exercise, we are going to move the
face underneath the portrait and we are going
| | 06:32 | to merge these items together so that
painting and clock face are as one.
| | Collapse this transcript |
| Merging clock face and cardinal| 00:00 | Now let's go ahead and merge the clock face along with the
cardinal portrait and this has nothing whatsoever to do
| | 00:07 | with transformations or warping or liquifying.
| | 00:10 | This has everything to do with the Blend modes that we looked
at in the previous chapter so I will make it pretty short.
| | 00:16 | But I want you to make sure that the face layer
is active here inside of the cardinaletondo image
| | 00:22 | if you have been working along with me of course.
| | 00:24 | Then I want you to press Ctrl left bracket twice in a row that
would be Command left bracket twice in a row on the Mac in order
| | 00:30 | to move the face layer below the portrait layer.
| | 00:33 | You can also just drag it down the stack if
you want to here inside the Layers palette.
| | 00:37 | Then click on the Portrait Layer and switch it to the
Linear Burn mode and I am going to do that from the keyboard
| | 00:44 | by pressing Shift Alt A or Shift Option A at the Mac
that switches you to the Linear Burn mode right here.
| | 00:51 | You can also choose the option manually
from the Blend mode list if you prefer.
| | 00:55 | Then finally I am going to press Shift 6 in order to reduce the
fill opacity value to 60% so that I see this effect right here
| | 01:05 | so that we get this nice merging of the cardinal
image and the clock face that we are seeing here.
| | 01:10 | Now I shouldn't really be seeing this hole, in other
words I shouldn't be seeing the cardinal image leaking
| | 01:17 | into this hole if it's really printed on the clock face.
| | 01:21 | Now for the sake of this composition that doesn't really
matter all that much because the clock hands are going to cover
| | 01:27 | up this hole but if you are at all concerned about
that and you want to be able to see all the way
| | 01:31 | through to the Michael Angelo first go in the background,
then with the portrait layer active, go up to the Layer menu
| | 01:40 | and choose the Create Clipping Mask command and that will
go ahead and mask the portrait inside of the face layer
| | 01:48 | and you will end up with this effect here with
this nice hole in the background and that's it.
| | 01:52 | That's all we are doing in this exercise.
| | 01:54 | In the next exercise we are going to bring in the first
of the clock hands and scale it and rotate it into place.
| | Collapse this transcript |
| Rotating the minute hand| 00:00 | In this exercise we are going to go ahead and add a
minute hand to this developing clock face composition.
| | 00:06 | I am working inside the cardinaletondo.psd image
that's found inside the 16WarpLiquify folder.
| | 00:13 | Now bear in mind that I have made some changes to this
composition over the previous couple of exercises.
| | 00:18 | If you are working along with me I would like you to
click on the frame layer at the top of the Layers palette.
| | 00:25 | The reason being this will allow us to drag and drop
the various clock hands on top of the frame layer
| | 00:32 | so they don't get mired inside of
this face clipping mask right here.
| | 00:35 | So just a precautionary measure and now I am going to press
Shift+F to restore the standard window view and I am going
| | 00:42 | to switch back over to the clockparts.tif
image from Nicholas Belton.
| | 00:47 | Now I want to select this hand right here.
| | 00:49 | This I judge to be the minute hand, this
center hand on the left hand side of the image.
| | 00:54 | I could in order to select it I could reload the mask
alpha channel as a selection outline that's one way to work
| | 01:01 | or I just want to show you a different way to work here.
| | 01:04 | I am going to bring up the History
Palette and you can get to this palette
| | 01:08 | by choosing the History command from
the window menu if you prefer.
| | 01:11 | If you have been working along with
me you should see a short sequence
| | 01:14 | of operations basically you open the image then you loaded the
selection outline that's when you loaded the mask alpha channel
| | 01:20 | as a selection and there is this step rectangular marquee
where you found the intersection by Shift+Alt+Dragging
| | 01:27 | or Shift+Option+Dragging with the regular marquee
tool to keep only the clock face selected.
| | 01:33 | If you backup a single operation here you will
restore the entire mask's selection outline
| | 01:39 | so it's not necessarily an easier to way to work.
| | 01:41 | It's all that much easier that is to click on this option as
opposed to Control or Command clicking on this channel down here
| | 01:49 | but it helps demonstrate that the History Palette
tracks operations for each and every open image.
| | 01:55 | So just bear in mind that you have that option
available to you alright I am going to go ahead
| | 02:00 | and close the History Palette then using the rectangular marquee
tool once again I am going to Shift+Alt+Drag or Shift+Option+Drag
| | 02:08 | around the minute hand like so and I have now only the minute
hand selected then I will press and hold the Control key here
| | 02:15 | on the PC or the Command key on the Mac and I will drag and
drop the minute hand into the cardinaletondo composition.
| | 02:22 | Now I am going to press the F key to
switch back into the CS3 maximized view.
| | 02:27 | And I am going to go ahead and Control+Drag or
Command+Drag this hand into place so that the center
| | 02:35 | of the clock hand is at the center of the clock.
| | 02:37 | Now the clock hand is way too big as you
can see it extends outside of the canvas
| | 02:42 | so I want to scale it to a more reasonable size.
| | 02:44 | I can repeat the last transformation that I
assign that I apply to the clock face here.
| | 02:50 | By going up to the Edit menu choosing the Transform command
and choosing this guy right there again transform again
| | 02:57 | where I compress Control+Shift+T and this is a very good
keyboard shortcut to memorize that's Command+Shift+T on the Mac
| | 03:04 | and that will repeat that previous transformation.
| | 03:07 | If you like it now it may not turn out to be all that great.
| | 03:10 | There is two problems with it from my
perspective one I would like the minute hand
| | 03:14 | to be slightly bigger perhaps I am not sure actually maybe
it's fine the way it is but I am a little worried about leaving
| | 03:22 | that gap right there around the center dial
of the minute hand and that allows some
| | 03:28 | of the Michael Angelo Fresco to showing from the background.
| | 03:32 | Of course they could end up hiding that gap using some of
the other hands so it may not be that big of a problem.
| | 03:37 | On the other hand maybe the hand is too big, maybe it's extending
too far into the numbers and I definitely want to rotate the hand
| | 03:43 | to some sort of minute on the clock face here so
it looks a little more natural than just hanging
| | 03:48 | down it exactly the 30 position so if you run into a situation
like that where you want to follow up one transformation
| | 03:55 | with another transformation then you probably want to
handle everything in one clean transform operation.
| | 04:02 | You don't want to be keeping transformation on top of
transformation on top of transformation because you end
| | 04:07 | up destroying the original pixel information inside the layer.
| | 04:12 | Now you can apply non-destructive transformations
inside Photoshop using smart objects.
| | 04:16 | We just haven't gotten the smart objects yet so right now we
are not working with the smart objects we are just working
| | 04:20 | with static layers so, I am going to undo that last modification
actually I have to press Ctrl+Alt+Z a couple of times
| | 04:27 | in a row that's Command+Option+Z on a Mac in order to back
step so that we are seeing the original version of the hand.
| | 04:32 | Here is a trick that I want you to bear in mind.
| | 04:35 | It's little weird but it's going to make a lot of sense once
you start doing a lot of transforming inside of Photoshop.
| | 04:39 | First press Control+T or Command+T on the Mac to enter the free
transform mode then press Control+Shift+T or Command+Shift+T
| | 04:49 | on the Mac to restore the last applied transformation
and keep yourself inside of the free transform mode
| | 04:57 | so that you can still apply some other
transformations non destructively.
| | 05:01 | Does that make sense?
| | 05:02 | So I am still inside the free transform mode and
| | 05:04 | yet I have lifted my last transformation
values of 44.4% proportionally that's awesome.
| | 05:12 | By the way that is what I just gave you that
little trick that was gold you are welcome.
| | 05:17 | Alright I am going to move this central handle upward by the way.
| | 05:20 | I should just near instead of being snide I should never
write what I am doing I will go ahead and drag the minute hand
| | 05:26 | down a little bit so that it's centered on a clock
face and then I am moving this transformation origin.
| | 05:31 | Notice that I can drag the transformation origin anywhere where I
want it to be, so that little target I am dragging to the center
| | 05:38 | of the pivot for the clock hand and now by moving my cursor
outside the transformation boundary notice that it changes
| | 05:48 | to a little rotate icon and I will now drag with this rotate
cursor in order to rotate the clock hand around the face like so.
| | 05:58 | So I think this is a good time of day for this clock I would
do want to not sort of cover up too much of the Raphael face
| | 06:07 | in the background so maybe I should
move the clock hand a little higher
| | 06:10 | so that it's covering let's say this
part of the nose right there.
| | 06:14 | Some portion of this guy's faces got to be covered up.
| | 06:16 | Let's leave you know elements like the eyes opened and
maybe the base of the nose and the mouth and so on.
| | 06:21 | And then finally I might go ahead and I am sort of still
grappling with whether this clock hand ought to be bigger
| | 06:27 | or smaller but let's say I decide
it needs to be a little smaller.
| | 06:30 | I am going to go onto the W and H values up there which
control the scaling of the hand and I am going to turn
| | 06:37 | on that little link so that I maintain a consistent aspect
ratio i.e. I go ahead and scale the width and the height
| | 06:44 | of the image proportionally then I am going to click inside
either the width or the height value it doesn't matter which one.
| | 06:49 | And I am going to press the down arrow key in order
| | 06:51 | to make this clock hand a little bit
smaller maybe not quite that much smaller.
| | 06:56 | Let's go ahead and go with let's say 41%.
| | 06:58 | What the hack and then press the Enter key or the Return
key on the Mac in order to accept this value right here.
| | 07:04 | I haven't exited the free transform mode quite yet by the
way because I do want to show you notice that the rotation
| | 07:10 | of the clock hand is also being tracked
using this little angle value right there.
| | 07:15 | These suckers over there H & V that have little
degrees next to them those are the skew values
| | 07:20 | in case you decide to skew your clock hand at some in time.
| | 07:24 | Alright now I am going to press the Enter
key or the Return key once again in order
| | 07:28 | to accept my transformation and depart
from the free transform mode.
| | 07:33 | So there you go I have a nicely scaled and rotated
minute hand at the center of my high renaissance clock.
| | Collapse this transcript |
| Replaying the last transformation| 00:00 | Alright, let's bring in the second hand and hour hand.
| | 00:03 | I am going to press Shift+F in order
to return to the standard window mode.
| | 00:08 | I am going to switch over to the clockparts.tif image.
| | 00:11 | I am going to press Ctrl+Alt+Z or Command-Option-Z on
the Mac in order to restore the full selection outline
| | 00:18 | and then using my marquee tool, my rectangular marquee tool.
| | 00:22 | I am going to Shift+Alt+Drag or Shift-Option-Drag around
the hour hand, so that only the hour hand is selected.
| | 00:28 | Now, I am going to Ctrl+Drag and drop or on the
Macintosh side Command-drag and drop the hour hand
| | 00:34 | into the cardinaletondo.psd ongoing composition and I will
press the F key in order to switch back to the Maximize mode.
| | 00:43 | Now, then let's go ahead and scale and rotate this clock
hand in the place, we are going to want to match the scale
| | 00:50 | that we have applied to the minute hand
presumably or at least nearly match it.
| | 00:55 | But we are going to want to rotate the hour hand differently
than the minute hand, so that means a little bit of matching
| | 01:01 | that previous transformation and a little bit of going our
own way that means of course, you first press Ctrl+T to enter
| | 01:08 | that Free Transform mode that would be Command-T on the
Mac, then you press Ctrl+Shift+T or Command-Shift-T in order
| | 01:15 | to repeat the previous transformation while
staying inside the Free Transform mode.
| | 01:21 | Now, let's go ahead and move the hour hand more or less in
a place, now because the centres of both hands are black,
| | 01:27 | it's a little bit difficult to align them and it's not
necessary that we get them exactly aligned at this point,
| | 01:33 | but I just want them more or less roughly aligned in place.
| | 01:36 | And then I am going to drag the origin
target into the center of this hand,
| | 01:42 | into the location where the pin would be holding
the hands in place and then I will drag outside
| | 01:47 | of the transform boundary in order to rotate the hour hand.
| | 01:50 | At this point, it becomes sort of an arbitrary
decision as to exactly what hour of the day it is,
| | 01:56 | why don't we make it let's say almost 2 o'clock,
since it's about 10 minutes to some hour here.
| | 02:02 | Let's go ahead and drag it to this position right there and
I might go ahead and make the hour hand a little bigger,
| | 02:08 | because I want to start covering up this whole, I don't want to
be able to see through this little crevice here between the hole
| | 02:14 | in the clock face that reveals the
Michaelangelo fresco in the background.
| | 02:18 | So I am going to turn on the Link icon, here between the W
and H values and then I am going to click inside the W value
| | 02:24 | and nudge the W value upwards in order to scale that clock
hand up to 45% let's say, just as a rough percentage.
| | 02:32 | Then I am going to press the enter or return key in order to
accept that value and I am going to press the down arrow key
| | 02:39 | to nudge that hour hand down ever so slightly
and that's still not as big as I wanted to be,
| | 02:43 | I wanted to be just slightly bigger, so
that this crack is completely covered up.
| | 02:48 | So let's go back to that W value and increase it
even further to 47%, looks actually pretty darn good.
| | 02:55 | That's a big whopping hour hand, but I don't think anybody
is really going to see, oh gosh that hour hand is thicker
| | 03:01 | than the minute hand, I think things look pretty good.
| | 03:03 | Alright, so I am going to press the Enter key
or the Return key on the Mac in order to accept
| | 03:07 | that transformation and exit the Free Transform mode.
| | 03:10 | Then I am going to the Layers palette and I am going to move the
hour hand below the minute hand by pressing Ctrl+Left bracket,
| | 03:17 | that's Command+Left bracket on the Mac, because
the smallest center hole should be on top.
| | 03:22 | So the minute hand should be on top of
the hour hand and the hour hand is going
| | 03:25 | to be want to be on the top of the second hand as well.
| | 03:27 | Now, let's go ahead and rename these layers just so that we
can tell them apart, this guy is hour and of course this guy
| | 03:33 | at the top is minute, as it turns out and that's groovy.
| | 03:38 | Alright, now I am going to click the Frame layer, because
the next hand wants to be directly above the frame layer
| | 03:43 | between the frame layer and the hour hand,
as we will see inside the next exercise.
| | Collapse this transcript |
| Second hand and shadows| 00:00 | Alright, babies, it's time to add a secondhand to this ongoing
clock composition that goes by the name cardinaletondo.psd.
| | 00:07 | If you have been working along with me, then you
should have a minute hand, followed by an hour hand,
| | 00:13 | followed by the frame layer, and the frame layer should be
active, so that the secondhand that we are about to move
| | 00:18 | in appears directly in front of the frame
layer and directly in back of the hour hand.
| | 00:23 | I am going to press Shift+F to return
to the standard window mode.
| | 00:27 | I am now going to bring the clockparts.tiff image from
Nicholas Belton to top and I am going to press Ctrl+Alt+Z
| | 00:34 | or Command+Option+Z on the Mac to
restore the full selection outline.
| | 00:38 | Now, using the rectangular Marquee tool, I am going
to Shift+Alt+Drag carefully around the secondhand,
| | 00:44 | that would be Shift+Option+Drag around that secondhand on
the Macintosh side of things ,and that is the secondhand
| | 00:50 | down here in the lowerl-eft region of the image.
| | 00:53 | Then, I will press the Ctrl key and I will drag
the secondhand into the cardinaletondo.psd image,
| | 00:59 | that would be Command+Drag on the Mac of course.
| | 01:01 | And next, I will press the F key so that we are looking at
the image by itself, hiding of the clock parts from view.
| | 01:08 | And I will press Ctrl+T or Command+T in order to enter the
Free Transfer mode and then finally, I will press Ctrl+Shift+T
| | 01:16 | or Command+Shift+T on the Mac in order
to reload the Last Apply Transformation.
| | 01:22 | So I am matching the transformation that I
apply to the hour hand in the previous exercise.
| | 01:27 | Okay, so far so great as it turns out.
| | 01:30 | Now, let's go ahead and move the secondhand into place and
rotate it the way that the secondhand wants to be rotated.
| | 01:37 | And I am nudging the secondhand from the keyboard, notice
this, by pressing the arrow keys here and I am going
| | 01:43 | to move this center point, this origin point, down
here to the central pin location for the clock hands.
| | 01:50 | And then, I will drag outside of the transform
boundary in order to rotate the secondhand,
| | 01:55 | I would say down to this location
right here, just shy of the six.
| | 02:00 | And I want that secondhand to be a little longer and a little
bigger so that it covers up even more of that hole in the center
| | 02:06 | of the clock, and I am going to do that by clicking
on this link icon between the W and H options in order
| | 02:13 | to make sure those options are linked together,
so that I can create a proportional resizing.
| | 02:18 | Then I will click inside the W value and I will nudge
it from the keyboard by pressing the Up arrow key.
| | 02:23 | And notice that the secondhand is indeed
getting larger, 53% looks pretty good to me.
| | 02:29 | I will press the Enter key or the Return key
on the Mac in order to accept that value.
| | 02:33 | Then, I will nudge my hand into place, which means
for me, I need to nudge it up ever so slightly.
| | 02:38 | So I'll press the Up arrow key a couple of times
and then I'll press the left arrow key once,
| | 02:42 | for what it's worth because you are
going to have to do your own thing there.
| | 02:44 | But this is the effect I am going for, I
think this looks actually pretty darn good.
| | 02:48 | So now, I will press the Enter key on the PC here or the
Return key on the Mac in order to accept that transformation.
| | 02:56 | Now, at this point, I think our clock
hands look pretty darn good.
| | 03:00 | So I will go ahead and rename my clock hand
second of course, because this is the secondhand.
| | 03:05 | I might as well spell it correctly as long as I manage.
| | 03:08 | So there we have minute hand, followed by our hand,
followed by secondhand with the frame layer in back.
| | 03:14 | Now, the one thing you might notice is that the frame layer,
if you take a look at the interior of this round Tondo frame,
| | 03:22 | you may notice that I have a little bit of a drop shadow,
| | 03:25 | it's just a slight drop shadow to
give the clock a little bit of depth.
| | 03:29 | I think the hands want that exact
same drop shadow applied to them.
| | 03:33 | So, I am going to go to the frame layer and I am going to click.
| | 03:36 | Notice, this little FX icon right there, I am going to go ahead
and right-click on it in order to bring up this popup menu.
| | 03:42 | On the Macintosh side, if you don't have a Right Mouse button,
| | 03:44 | then go ahead and press the Ctrl key
and click on that little FX icon.
| | 03:48 | And then I want you to choose Copy Layer Style.
| | 03:51 | Now, we haven't discussed layer styles
yet, we are going to discuss layer styles
| | 03:54 | and all kinds of glorious detail in an upcoming chapter.
| | 03:57 | But for now, just go ahead and choose Copy Layer Style.
| | 04:00 | Then I want you to click on second and Shift-click on
Minute in order to select that range of layers right there.
| | 04:07 | Right-click on any one of them and choose
Paste Layer Style in order to paste
| | 04:13 | that drop shadow on each and every one of these hands.
| | 04:17 | Doesn't that look fantastic?
| | 04:19 | Yes, it does if you ask me, and I am the only one here to
answer, so I am going to go with a Yes, a resounding yes in fact.
| | 04:26 | And that is our final composition as it turns out.
| | 04:29 | I am going to go ahead and press the Tab key in order to
hide my palettes and press the F key a couple of times
| | 04:34 | so that we are filling the screen with the image.
| | 04:37 | So here we have our final high renaissance clock,
something that Raphael, Michelangelo, Giotto,
| | 04:43 | Brunelleschi and Ghiberti never experienced but you, not with
this cool clock face on it anyway, they didn't experience that,
| | 04:50 | did they, and you can experience that, thanks
| | 04:53 | to the amazing transformation power that's
available to you here inside Photoshop.
| | Collapse this transcript |
| Series duplication| 00:00 | Okay, in this exercise I am going to
show a total throw away technique.
| | 00:04 | It's of limited practical value I don't know that I have used it
in a real world job ever but it has such an enormous wow factor.
| | 00:13 | If nothing else you can use it to show off your Photoshop
acumen to friends and neighbors and let's face it
| | 00:20 | that can be a valuable thing to do because
when you are showing off how great you are
| | 00:23 | at Photoshop you are not only winning
friends, you are also influencing people.
| | 00:27 | That could get you a pay raise for no good reason you
could end up getting a pay raise out of this technique.
| | 00:33 | I am here to tell you write me if you do please, won't you?
| | 00:35 | So here's the idea.
| | 00:36 | This is one of those techniques that nobody knows about and
that's because it's buried it's only available from the keyboard.
| | 00:42 | It turns out that you can replicate and
transform an object over and over again.
| | 00:49 | A function that goes by the name of series
duplication inside of other applications,
| | 00:54 | inside Photoshop it doesn't really have
a name and here's what I want you to do.
| | 00:58 | Here I am working on this ongoing clock face
composition that's inside the cardinaletondo.psd image.
| | 01:05 | I want you to select the second hand layer if you are
working along with me and we are going to do this strictly
| | 01:10 | from the keyboard because there is no other way to pull it off.
| | 01:12 | You may recall if you press Ctrl+T or Command+T on the Mac
you will enter the free transform mode for the active layer
| | 01:19 | but if you press Ctrl+Alt+T or Command+Option+T
on the Mac you will not only enter free transform
| | 01:25 | but you will also end up duplicating this layer in the process.
| | 01:29 | Now it doesn't look like you are duplicating the layers so far,
| | 01:31 | but keep your end on the Layers palette,
it will change in just a moment.
| | 01:35 | Alright, now I am going to move this origin point
to the center of the hand like so and I am going
| | 01:44 | to drag outside the transformation boundary in order to
rotate the hand vastly and you can see right away I go ahead
| | 01:53 | and duplicate the hand and a new duplicate
second layer appears inside the Layers palette.
| | 01:59 | Alright, so I want to go ahead and rotate this layer 36
degree so that I can be assure that I will have a total
| | 02:06 | of 10 second hands inside of a 360 degree circle.
| | 02:09 | So let's change that angle value
here inside the options bar to 36.
| | 02:14 | Whatever it turns out to be for you change it to 36 like so and
then press the Enter key a couple of times or the Return key
| | 02:20 | on the Mac a couple of times in order
to apply that transformation.
| | 02:24 | Now here's the incredibly cool part.
| | 02:27 | Here's the series duplication network.
| | 02:29 | I want you to jam on a few keys here, it's Ctrl+Shift+Alt+T on
the Macintosh side that's Command+Shift+Option+T and I am going
| | 02:37 | to go ahead and keep pressing those keys Ctrl+Shift+Alt+T
on the PC or Command+Shift+Option+T on the Mac in order
| | 02:44 | to duplicate the hand over and over and over again.
| | 02:48 | And every time you press that keyboard shortcut you
not only duplicate the layer but you also rotate
| | 02:54 | and otherwise transform it into another position
and you get this nice series duplication effect.
| | 03:01 | Will you ever find a use for that inside Photoshop?
| | 03:04 | Maybe you will, maybe you won't.
| | 03:05 | Will you ever find a use for it at a party?
| | 03:08 | You sure will depending on what kind of parties
you go to but this is a fantastic technique really.
| | 03:15 | If you are not already just going oh my
goodness that was so cool, your friends will be.
| | 03:19 | Try it out on them see how it works.
| | Collapse this transcript |
| Skews and perspective-style distortions| 00:00 | Alright now purely for the sake of variety here I have modified
a few of the elements inside of this tondo themed image.
| | 00:08 | I have used the hue/saturation command to give
the frame something of a gilded appearance.
| | 00:13 | I have colorized the Michael Angelo fresco in the
background, I have rotated the hands a little bit,
| | 00:19 | I have modified the face ever so slightly and perhaps
most obviously I have switched out the Raphael Cardinal
| | 00:26 | with another Raphael image one of the famous cherubs from the
Sistine Chapel and this time around we are going to try out a few
| | 00:32 | of the distortion functions that are available to you
when you are working with a Free Transform command.
| | 00:37 | Now turn your attention for a moment to the Layers palette.
| | 00:40 | You will notice that I have kind of tidied things up a bit.
| | 00:42 | I have put all of the clock face elements inside of the face
group and that includes the clock face from Nicolas Belton
| | 00:51 | as well as the Raphael cherub and a
little bit of a relief overlay there.
| | 00:56 | And then comes the frame layer which is sitting loose inside of
the stack and then finally we have a group for the hands for each
| | 01:03 | of the clock hands, the minute hand,
the hour hand and the second hand.
| | 01:07 | Alright so I am going to go and twirl that close.
| | 01:09 | What I would like you to do is go ahead and
select all of the elements that make up the clock.
| | 01:12 | So, click on the face group and then
Shift Click on the hands group.
| | 01:17 | That will select that entire range of layers
including the layers that are inside the group.
| | 01:22 | And if you Ctrl drag the clock around inside the image
Window you notice that the entire clock moves independent
| | 01:29 | of the Michael Angelo fresco in the background which
should be deselected inside of the Layers palette.
| | 01:34 | Alright I am going to undo that movement.
| | 01:36 | Now one of the wonderful things about the Free Transform command
is that it is applicable to multiple selected layers at a time.
| | 01:44 | So I would like you to go up to the Edit
menu and choose a Free Transform command
| | 01:47 | or of course you can press Ctrl T or Command T on the Mac.
| | 01:50 | Now I mentioned how you can scale the image by dragging
any of these handles either a corner handle like so or,
| | 01:58 | I will undo that movement, you can also drag one of the side
handles which includes the top and bottom handles by the way
| | 02:06 | in which case you will squish the image like I have here.
| | 02:09 | Alright I will undo that modification as well
by pressing Ctrl Z, Command Z on the Mac.
| | 02:13 | If you want to slant or distort the image all you have to do
is press and hold the Ctrl key on the PC or the Command key
| | 02:21 | on the Mac while dragging one of these handles.
| | 02:23 | For example I am going to Ctrl drag the side handle right here
and notice that I skew the image or if you prefer slant the image
| | 02:32 | on screen and I will go ahead and Ctrl drag
or Command drag this top handle as well.
| | 02:37 | So that gives you a sense of the kind of skews that you
can perform and your slants will be recorded up here inside
| | 02:45 | of the Options bar to the best of Photoshop's ability, it doesn't
always do such a great job of recording the slant information
| | 02:51 | as it turns out but that's what these
H and V values are all about.
| | 02:55 | This is telling us that we have 4.6 degrees of horizontal skew
and for some reason it's telling us that we have 0 degrees
| | 03:02 | of vertical skew because it's gone ahead and rendered out the
skew as a straight rotation which maybe accurate as it turns out,
| | 03:08 | not sure, I will leave it to Photoshop to figure that one.
| | 03:11 | Anyway you can also Ctrl or Command drag a corner handle and
if you do, you will move that corner handle independently
| | 03:19 | of the other corner handles around the transformation
boundary and that's called a four-point distortion
| | 03:25 | because you can move each one of these four corner
points independently of each other once again
| | 03:31 | by Ctrl dragging or Command dragging that point around.
| | 03:34 | A few other tricks that you should keep in
mind if you Ctrl Shift drag one of the points,
| | 03:39 | notice that you will constrain it along the existing axis.
| | 03:43 | So you will either constrain along this sort of horizontal
axis that you have setup or along the vertical axis
| | 03:51 | that you have setup and that's once again a
function of pressing the Shift key along with Ctrl
| | 03:55 | or Command as you drag one of the those corner handles.
| | 03:58 | Of course the same thing applies when skewing, you
can Ctrl Shift drag or Command Shift drag in order
| | 04:05 | to skew along the existing skew line that you have
set up, along the existing axis as Photoshop sees it.
| | 04:12 | Check this one out, this one is really weird as it turns out that
if you press Ctrl Alt or Command Option on the Mac and drag one
| | 04:22 | of the handles you will move the opposite handle
symmetrically around the transformation origin and that goes
| | 04:29 | for not only Ctrl Alt or Command Option dragging a corner handle
but also Ctrl Alt or Command Option dragging a side handle.
| | 04:38 | Alright this isn't really the effect I want.
| | 04:40 | So I am going to go ahead and press the Escape
key in order to exit the Free Transform mode
| | 04:45 | and restore the original unmodified version of the selected
layers and I am going to press Ctrl T or Command T again
| | 04:53 | to once again reenter the Free Transform mode.
| | 04:56 | So what I have done is I have just cleared out all the old
garbage I have applied and reentered the free transform mode
| | 05:01 | so I can start things over again because what I really
want to do is I want to apply a perspective distortion.
| | 05:08 | That means pressing a whole lot of keys.
| | 05:10 | You press Ctrl Shift and Alt at the same time or Command
Shift and Option on the Macintosh side and then drag one
| | 05:19 | of the corner handles and notice what you get, you get a pure
perspective style distortion and I have still got Ctrl Shift
| | 05:26 | and Alt down as I am making these modifications.
| | 05:29 | Now I am going to release the keys and drag up on this top
handle in order to stretch the image upward a little bit
| | 05:37 | and I might go ahead and increase the impact
of the effect by Ctrl Shift Alt dragging one
| | 05:43 | of these lower handles a little bit more one of these lower
control handles and then I will Ctrl Shift Alt drag on one
| | 05:49 | of the top handles on one of the top corner
handles and then I will drag up a little bit,
| | 05:54 | I don't have the keys down any longer
because I am performing a scale.
| | 05:58 | I will drag up a little bit on the top handle in order to
stretch the image upward and finally I will Alt drag not Ctrl,
| | 06:05 | I am just Alt dragging the side handle outward in order to move
both of the side handles symmetrically outward with respect
| | 06:14 | to that transformation origin in the center there.
| | 06:17 | And once I get the effect that I am looking for, I will
press the Enter key on the PC or the Return key on a Mac
| | 06:22 | in order to accept my perspective style distortion.
| | 06:25 | So there it is.
| | 06:26 | This is the original version of the clock layer and
this is the modified version of the clock layer thanks
| | 06:33 | to the distortion functions that are available
to you when you Ctrl drag or Command drag one
| | 06:38 | of the handles inside of the Free Transform mode.
| | Collapse this transcript |
| The envelope-style Warp function| 00:00 | Now if you have been following along with me, go ahead and undo
that last modification in order to restore the original version
| | 00:08 | of the Chair Up Clock here inside the chairupclock.psd
file that's found inside the 16 Warp Liquify folder.
| | 00:16 | And this time around we are going to see Photoshop's Warp
function which allows you to apply an Envelope Style Distortion,
| | 00:22 | in case you have ever heard of Envelope Style
Distortions, that gives you a sense of what's coming.
| | 00:27 | If you have never heard of that, don't worry about it, you will
learn everything you need to know in just a few minutes here.
| | 00:33 | Now I still have selected several layers, everything from
the face group up through and included the hands groups,
| | 00:40 | so all of the layers that represent the clock, but when you
have multiple layer selected even though you can go ahead
| | 00:46 | and apply the Free Transform function,
you can't access the Warp function.
| | 00:51 | Very unfortunate in my opinion, but
when multiple layers are selected,
| | 00:54 | the Warp command here underneath
the Transform sub menu is dimmed.
| | 00:59 | Notice I should tell you that I have given you a special
keyboard shortcut for the Warp function which is Ctrl+Shift+R,
| | 01:06 | Command-Shift-R in the Mac assuming that you when had it loaded
my D keys keyboard shortcut but it's not going to do you any good
| | 01:12 | at this point, because we as I say have multiple layers selected.
| | 01:16 | So we need to go ahead and flatten those
layers, merge them into a single layer.
| | 01:21 | And go ahead do that now by going to the Layer menu and
choosing the Merge Layers command or you can press Ctrl+E,
| | 01:27 | Command-E on the Mac in order to merge those guys together
| | 01:31 | and notice that all the layer styles go away
they basically get mushed into this Merge layer.
| | 01:36 | So the drop shadows that were formally assigned to the image
now become actual real static pixels inside this new layer
| | 01:43 | which is called Hands, no reason to call it that, why don't
you go ahead and rename the layer Clock at this point.
| | 01:49 | Alright, now you can go to the Edit menu, you can
choose Transform and you can choose the Warp command
| | 01:55 | or you can take advantage of that keyboard shortcut,
I was just telling you about, if you loaded my D Keys.
| | 02:00 | Or there is another way to work and
it gets you to the exact same place.
| | 02:04 | You can go to the Free Transform command by pressing Ctrl+T or
Command-T on the Mac and then you can go up to the Options bar,
| | 02:11 | see this little icon right there that's next
to the "no can't do cancel ghost busters" icon.
| | 02:16 | This guy right here if you hover over it tells you that it
allows you to switch between the Free Transform and Warp mode.
| | 02:22 | So go ahead and give it a click in order to turn on the Warp
function and you get this Envelope Style Distortion boundary
| | 02:31 | in which the transformation box is now divided into
nine pieces, nine even pieces as you can see here.
| | 02:38 | Now there is a couple of different ways to work.
| | 02:40 | One way to work is you can choose the kind
of Warp a preset that you want to apply
| | 02:45 | for example you may say gosh I want
to go ahead and arch this image.
| | 02:50 | And as soon as you that Arch command it goes ahead
and applies a predefined a preset arch function
| | 02:57 | which you can then modify using these
numerical values if you like.
| | 03:01 | So I will go ahead and select the bend value and I will reduce
it by pressing Shift+down arrow to reduce that bend value
| | 03:09 | in increments of 1% at a time, that's a function
once again of pressing Shift+down arrow.
| | 03:15 | You also have the option to increase, I will go ahead and
scrub in this case just to make things happen little faster.
| | 03:21 | I will go ahead and increase the
horizontal dimensions of this distortion
| | 03:28 | so that the image appears becoming
toward us on the right hand side.
| | 03:32 | You can do something similar with the vertical distortion here.
| | 03:35 | If I make the value bigger, I will make the bottom
of the arch bigger, if I make the vertical value,
| | 03:41 | the V value smaller I will make the top of the arch
bigger, so it appears to becoming toward me at the top.
| | 03:47 | Now that's one way to work as I say, another way to work
is just to switch to this custom function right here.
| | 03:53 | And I am going to clear things out by clicking on
None actually in order to clear out my Warp function.
| | 04:00 | And then I will change it to Custom, so that I can modify my Warp
exactly the way I want to modify it or by the way you can start
| | 04:08 | from something you can start from let's say an
arch, I will go ahead and choose that this time,
| | 04:13 | and this is pretty bent actually,
but that's okay I kind of like it.
| | 04:17 | This is a good amount of bending at this point and I
will use that as a starting point then choose Custom
| | 04:22 | and now you have the option of modifying
this envelop distortion on the fly
| | 04:28 | by dragging either a corner handle like
so, notice the effect that that has.
| | 04:34 | Or I will go ahead and drag this
corner handle out a little bit as well.
| | 04:37 | You can drag one of these control handles, notice these
little guys are kind of like levers that allow you to tug
| | 04:46 | at the curvature of this boundary right here
in order to bend it upward or bend it downward.
| | 04:54 | And then finally and you have got two of those, by the way you
have got two of those control handles associated with each one
| | 05:01 | of the four corner points or best of all you can just
drag inside the image just drag directly inside the image
| | 05:08 | in order to move that point around.
| | 05:10 | So I am going to go ahead and drag the central portion of the
clock upward both at the top and the bottom and I am going
| | 05:16 | to drag the sides downward like so in order
to create a fairly precipitous free form arch.
| | 05:22 | Now at this point, let's say I want
to rotate this clock a little bit.
| | 05:25 | Well all I have to do is switch out of Warp mode into the
Standard Free Transform mode and I will do that by just clicking
| | 05:31 | on this little icon here in order to switch out.
| | 05:34 | The other thing you can do provided that you loaded my
D Key shortcuts is you can press Ctrl+Shift+R in order
| | 05:40 | to enter the Warp mode and then press Ctrl+T to exit
that Warp mode and go back to the Free Transform mode.
| | 05:47 | But the nice thing about this is Photoshop goes ahead and
remembers your Warp settings and your Free Transform settings,
| | 05:54 | at the same time it's keeping track
of both these sets of settings as long
| | 05:57 | as you stay inside of the larger Free Transform mode.
| | 06:01 | So in other words, you don't actually
apply your destructive modification
| | 06:06 | until you click this check mark or press the Enter or Return key.
| | 06:10 | Alright now I am going to go ahead and drag outside of the
transform boundary in order to rotate this clock into sort
| | 06:17 | of a different angle right here and that gives a sort of
a droopy clock appearance sort of that Salvador dolly look
| | 06:23 | that we are going for with our high renaissance art.
| | 06:25 | And now that I have rotated the image in the place, I
am going to reenter the Warp mode and I am going to do
| | 06:31 | that by pressing Ctrl+Shift+R, Command-Shift-R in the Mac because
I have my D keys loaded but you could just as easily click
| | 06:37 | on this little icon up here in the Options bar.
| | 06:40 | And I am going to move things around just a little bit
more to make sure that everything is inside of the canvas,
| | 06:46 | so that we can see this clock nicely here and
it's turning it also into a kind of shield
| | 06:52 | as well, notice that which I think is kind of nifty.
| | 06:54 | And then once I am done, once I have applied the Warp to my
liking, I will go ahead and press the Enter key on the PC here
| | 07:03 | or the Return key on the Mac in order to
instruct Photoshop to recalculate those pixels.
| | 07:08 | So this is the modified version of the image I am going to
tab away my palettes and switch to the Full Screen mode here,
| | 07:14 | zoom in just a little bit so that we can
see the modified version of the image.
| | 07:19 | This is the original version of the clock and
this is the modified version of the clock.
| | 07:25 | Thanks to the envelope style warp function here inside Photoshop.
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| Introducing the Liquify command| 00:00 | We now turn our attention from the Free Transform and
Warp functions which allow us to take one or more layers
| | 00:06 | and modify them directly inside of the image window.
| | 00:10 | We are going to turn our attention to the Liquify command here
under the Filter menu which allows you to take a single layer
| | 00:17 | and modify it on a pixel level basis inside of a separate
utility that just happens to run inside Photoshop,
| | 00:24 | a very powerful retouching function as it turns out.
| | 00:28 | And we are going to take on this command
because it's so big and powerful.
| | 00:31 | We are going to take it on in two parts which
will cover a few exercises as it turns out.
| | 00:35 | We will start by learning roughly how the command works
and we will do that inside of this image right here,
| | 00:41 | it's called the ufisifellow.psd and it features
another one of these Raphael images inside
| | 00:47 | of once again this Tondo frame set against
the Michaelangelo fresco background.
| | 00:52 | And then once we figure out how Liquify works, we will take the
command and we will use it to retouch this painting right here,
| | 00:59 | another Raphael image that's called
madellina.jpg and we will ultimately turn her
| | 01:05 | into something resembling this image,
which I called madelooker.jpg.
| | 01:10 | And you can get a sense now of what an amazing retouching
tool the Liquify filter is even though we are working
| | 01:18 | on a painting just for fun and of course to
spare people's feelings, you can use this filter.
| | 01:24 | You wont' be doing demos presumably, so you can use this
filter in your own work on real pictures of real people.
| | 01:31 | Trim them up, make them look at their absolute best.
| | 01:34 | Alright, so I am going to switch
back to this ufisifellow.psd image.
| | 01:39 | Make sure that the Portrait layer and only the
Portrait layer is active inside the Layers palette,
| | 01:45 | so that we are editing this guy right here and Raphael
just as Michaelangelo had a habit of when sculpting women,
| | 01:53 | he made the women look extremely masculine, you
may know that from your art history experience.
| | 01:58 | Raphael had sort of the opposite habit in his paintings
of taking men and making them look very feminine.
| | 02:05 | I am not sure what that's about, but it's just sort
of an interesting thing that I have noticed here.
| | 02:09 | By contrast of what he does with
women, let's start contrast in fact.
| | 02:13 | Alright so I am going to switch back to this beautiful
looking guy here and I am going to go up to the Filter menu
| | 02:19 | and I am going to choose the Liquify command or you can
press Ctrl+Shift+X or Command-Shift-X on the Mac in order
| | 02:25 | to invoke this big old dialog box right here
and as I say it really is a separate utility
| | 02:32 | that just happens to run inside Photoshop.
| | 02:35 | It has its own set of tools over here on the left hand side
of the dialog box and it is big whopping collection of options
| | 02:42 | over here on the right hand side of the dialog box.
| | 02:45 | So just to give you an introductory sense of how the function
works, I am going to increase the brush size a little bit
| | 02:51 | so I will take this brush size value up to
well I have got it at 199, let's go ahead
| | 02:56 | and take it all the way to 200 if it will cooperate with me.
| | 03:00 | And then I am going to move things around.
| | 03:02 | I assume if you are working along with me then you have
this top tool selected which is the forward warp tool.
| | 03:08 | It's the main editing tool inside the Liquify dialog box
here and I will explain why it's called the forward warp tool
| | 03:14 | in a later exercise, but for now just know that
it allows you to move details inside of the image.
| | 03:20 | And I suggest even though I am making some
ridiculous modifications at this point,
| | 03:24 | I suggest you take it slow and easy inside of this dialog box.
| | 03:29 | No sense in just dragging something all over
the place because if you do while you are going
| | 03:33 | to get a pretty whacky maybe even hilarious modification.
| | 03:36 | It's not going to look the least bit realistic,
whereas if I press Ctrl+Z or Command-Z on the Mac,
| | 03:42 | the modifications I have made so far even
though they are borderline not realistic
| | 03:47 | because it's eyes are so widely separated at this point.
| | 03:50 | We are not getting a lot of what I call ripped pixels,
a lot of stretch marks inside of the image, alright.
| | 03:56 | So just take it easy, it's basically the moral of the story.
| | 04:00 | I am going to give them something of a horse look for now
because we are not really trying to make him look better.
| | 04:05 | He already looked just dandy.
| | 04:08 | So I will go ahead and mess him up a little
bit just for the sake of you know entertainment
| | 04:12 | at this point while we learned how the command works.
| | 04:15 | And I have to tell you if you get the loved ones around
you and you whipped out your computer and you decide
| | 04:20 | to show them something inside Photoshop,
this is the tool to show him.
| | 04:24 | Guaranteed it will have them laughing out loud and rolling
around amused by the wonderful miracles of modern computing,
| | 04:33 | it is a guaranteed laugh riot, I tell you this from experience.
| | 04:37 | No matter age, it would be darned.
| | 04:40 | People just love this one.
| | 04:41 | Kids and old folks alike, alright anyway I am just
sort of dragging here while I am yakking at you.
| | 04:47 | This is the basic idea.
| | 04:48 | It allows you to move pixels around inside of the image
in order to distort the image on a pixel level basis.
| | 04:57 | In the next exercise, we are going to take on a few
of these options on right side of the dialog box.
| | 05:01 | Starting with these options right here, Brush
Size, Brush Density and Brush Pressure stay tuned.
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| Adjusting the brush settings| 00:00 | In this exercise we are going to take a look at these tool
options these top three tool options that are available
| | 00:05 | to me right now when I am using the Warp tool.
| | 00:07 | But first I am going to go ahead and zoom in on the image by
pressing Ctrl+ a couple of times that's Command + on the Mac.
| | 00:15 | So, any of those keyboard tricks that allow you
to zoom in and zoom out and scroll the image
| | 00:20 | around by spacebar dragging all those
tricks that work outside in the larger realm
| | 00:26 | of Photoshop work here inside the liquefied dialog box as well.
| | 00:30 | Alright the brush size value it's pretty
straightforward, it controls how big your brush is.
| | 00:35 | What I would like to do is show you the keyboard tricks.
| | 00:38 | You can press the bracket keys just as you can
when working with a brush tool in Photoshop.
| | 00:42 | You can press the left bracket key to make the brush smaller
and you can press the right bracket key to make the brush bigger
| | 00:48 | but notice that you are always modifying the brush size
in 2 pixel increments so very tiny increments there.
| | 00:57 | Luckily you can press and hold if you want to in order to
reduce and enlarge the cursor in real time so that's pressing
| | 01:05 | and holding the left bracket key or pressing and holding
the right bracket key to make larger adjustments at a time.
| | 01:11 | Press Shift along with the bracket key so this
is the result of pressing Shift left bracket,
| | 01:16 | this is the result of pressing Shift right bracket.
| | 01:19 | Bear those options in mind because those are some great
keyboard tricks and you are not going to want to be going
| | 01:25 | up to the brush size option every 10 seconds in
order to change it because one of the best ways
| | 01:31 | to control your modifications inside of this dialog box is to
keep that brush size liquid in other words change it around over
| | 01:39 | and over again so that you can make big
changes followed up by little changes
| | 01:43 | and we will see what I am talking about in the later exercise.
| | 01:45 | The brush density value is analogous to the
hardness setting inside Photoshop that is
| | 01:51 | to say it controls how much of the brush is active at a time.
| | 01:55 | So if you reduce this brush density to 0 let's say then notice
that just a little pinpoint of portion of your brush is dragging
| | 02:05 | around the image notice how sharp
that modification is right there.
| | 02:10 | I will go ahead and Undo that change.
| | 02:13 | If you enlarge the brush density value then you are going
to devote a larger portion of the brush to the modification
| | 02:20 | so that you get duller changes, more blunted transitions
which tend to be a little more realistic as it turns out
| | 02:26 | but you don't want to be mashing
too many pixels around at a time.
| | 02:30 | So I recommend that you leave that
brush density when in doubt just leave
| | 02:35 | that brush density setting set to its default which is 50.
| | 02:39 | And then finally you have got brush pressure
which determines the degree of your edits.
| | 02:45 | So when you have the brush pressure maxed out as we do
right now you are going to make big modifications like that
| | 02:51 | and if you reduce that setting, I will go ahead and take it
down to 10% for example then you make very tiny modifications
| | 02:58 | and you have to scrub over an area
multiple times in order to get anywhere.
| | 03:03 | Alright I am going to Undo my modifications and I made a few
different modifications in a row, few different brush strokes
| | 03:09 | in a row right there so after pressing Ctrl Z to undo the first
one or Command Z on the Mac I will have to press Ctrl Alt Z
| | 03:16 | or Command Option Z in order to back step incrementally.
| | 03:20 | So you do have multiple undos inside of the liquify dialog box.
| | 03:25 | So I am going to take that brush pressure value back up to 100.
| | 03:29 | Now one of the things I want to caution you here
is don't press the Enter or Return key in order
| | 03:35 | to activate the value that's not necessary and you
run the risk of basically invoking the OK button
| | 03:41 | and exceeding the dialog box and applying your modifications.
| | 03:44 | So when you are changing these values numerically just go
ahead and enter a different value and start in painting.
| | 03:50 | So much for the tool options.
| | 03:51 | In the next exercise we will take a look at the
View settings including the Show Backdrop option
| | 03:57 | down here in the bottom right corner.
| | Collapse this transcript |
| Viewing layers and the mesh| 00:00 | Now, let's take a look at the view setting
starting with the Show Backdrop checkbox
| | 00:04 | down here in the lower-right corner of the dialog box.
| | 00:07 | Now, one of the things about working inside of a
separate utility like this is that you may feel
| | 00:12 | like you are seeing the layer completely out of context
because after all, by default, you are just seeing the layer
| | 00:18 | and not any of the other layers inside the image.
| | 00:21 | The Show Backdrop checkbox seeks to remedy this situation and it
does so in half successful manners, it turns out in my opinion.
| | 00:30 | Go ahead and turn it on, and you will see, if I zoom out here,
you will see a dimmed version of the layered composition mixed
| | 00:38 | in with the modified version of the current layer.
| | 00:42 | That means that you are seeing both the original version of
the layer and the modified version of the layer piled on top
| | 00:48 | of each other, which makes for a very, very
confusing view of this image in my opinion.
| | 00:54 | Luckily, you can switch things around using these
options down here, which include Use, Mode and Opacity.
| | 01:01 | By default, mode is set to In Front, meaning
that the layered composition is stacked
| | 01:06 | in front of the modified version of the image.
| | 01:10 | So if you were to raise the opacity value,
you would stress the original image.
| | 01:14 | And if you were to lower the opacity value, you
would stress the modified version of the layer.
| | 01:20 | Alright, I am going to take that value back to 50% or
so right here, so that I can show you the Behind mode
| | 01:27 | which is a little better in my opinion,
because it sets the layered version
| | 01:31 | of the image behind the modified view of the image.
| | 01:35 | That means you can then increase the opacity value to 100%
so that you can see just the modified view of the image
| | 01:42 | with the other layers in the background,
but you are not having the modified view
| | 01:47 | of the layer compete with the original version of the layers.
| | 01:50 | So that's a really good thing in my opinion.
| | 01:52 | Or, even a better way to work is pick and
choose exactly which layer you want to see here.
| | 01:58 | Alright, so I am going to restore that opacity value to
50% so that we are all starting on the same page here.
| | 02:03 | And I am going to change the used value to frame
because I don't really care about, for example,
| | 02:09 | the background layer which is just white or the
painting layer which is that Michelangelo Fresco.
| | 02:14 | All I'm really concerned about is how the current layer
interacts with the frame that directly surrounds it.
| | 02:21 | So let's go ahead and choose Frame from the Use option.
| | 02:24 | And let's put the frame in front because that's where it really
is, it's really stacked in front of this face layer right here,
| | 02:32 | and let's change the opacity value now to 100% so that we see the
two layers interacting with each other in very much the same way
| | 02:41 | that they interact with each other outside in Photoshop.
| | 02:44 | We're not seeing the drop shadow but
otherwise it looks pretty darn good.
| | 02:48 | So that's one way to change your view
settings here inside the Liquify dialog box.
| | 02:52 | The other thing you can do is turn
on the Show Mesh option right here.
| | 02:54 | And what that does is it turns on this grid,
see this little light gray grid, I will go ahead
| | 03:00 | and zoom in on the image so that we can see it even closer.
| | 03:03 | And the grid by default is rectilinear, meaning that
it's made up of exactly vertical and horizontal lines.
| | 03:10 | But as soon as you start warping
the image or otherwise modifying it,
| | 03:16 | you create sort of roundness inside of
the Mesh and you drag the Mesh outward.
| | 03:21 | And it's just helpful for tracking how your distortion is
being measured mathematically inside the Liquify dialog box.
| | 03:29 | So you can turn it on or off to your pleasure, it's up to you.
| | 03:32 | But it's just a way of tracking what's going on.
| | 03:35 | What I typically do is turn it on and then raise
this Mesh size so that I am seeing fewer Mesh lines,
| | 03:43 | so that they are not interfering with my view of the image.
| | 03:46 | You can also change the Mesh color if you like, so you can
change it to some bright color like yellow, if you prefer.
| | 03:52 | I generally like to keep it gray.
| | 03:54 | Alright, so those are your view settings, you've got Show
Backdrop and you've have got Show Mesh available to you
| | 04:00 | so that you can see the image in context, and you
can measure the results of your modifications.
| | 04:05 | In the next exercise, we will see how you can reconstruct an
image either incrementally or entirely in order to get rid
| | 04:12 | of undesirable distortions like the
ones that we are seeing right here.
| | Collapse this transcript |
| Incrementally undoing undesirable effects| 00:00 | Now, we have made some pretty hideous modifications here.
| | 00:03 | How do we go about undoing even incrementally
reconstructing the original image?
| | 00:09 | Well, we've got a lot of options available to us.
| | 00:11 | For starters, notice that the name of
this tool is the Forward Warp tool.
| | 00:16 | You may wonder why that is, what's so forward about warping.
| | 00:20 | Well, it is a cheeky little tool for one thing, but also, you
can reverse the effects of your warping by pressing the Alt key
| | 00:28 | or the Option key on the Mac, and clicking with the tool.
| | 00:30 | Notice how I just slightly undid that distortion right there by
Alt-clicking on one eye and then Alt-clicking on the other eye.
| | 00:39 | That behavior is identical to the Reconstruct
tool, so you could switch to the Reconstruct tool
| | 00:44 | if you prefer, and click with that tool as well.
| | 00:47 | And notice that that incrementally reverses the
effect of whatever adjustments you have applied.
| | 00:53 | It doesn't have to be a warp adjustment, it
can be any of these other adjustments as well.
| | 00:58 | Alright, so you can click with a tool, you can drag with a tool.
| | 01:02 | I don't really recommend you drag because when you drag with
a Reconstruct tool or Alt or Option+drag with a Warp tool,
| | 01:09 | you end up undoing your modifications
much too quickly from my liking.
| | 01:13 | So I will go ahead and press Ctrl+Z or Command
Z on the Mac to reestablish the bad stuff.
| | 01:18 | And I might even press Ctrl+Alt+Z, Ctrl+Alt+Z, a couple of times
in a row in order to get back to the really bad modification,
| | 01:26 | so that we can see the results of a few other functions.
| | 01:28 | By the way, if you find that either of these tools is
working too quickly, in particular the Reconstruct tool,
| | 01:36 | then you can change your brush pressure settings.
| | 01:39 | So let's say I take this brush pressure
down to 20 and then click.
| | 01:43 | And you will notice that the reconstruction
happens much more slowly.
| | 01:47 | Alright, anyway, what I would really like to show you or these
guys down here, I love these guys, reconstruct and restore all.
| | 01:53 | Notice, if you click on a Reconstruct button, Photoshop
just goes ahead and applies a little bit of reconstruction,
| | 01:59 | it doesn't do the whole thing, it just
goes ahead and incrementally backs
| | 02:03 | up everything that's been applied to the image.
| | 02:05 | And what that can mean as if you have
gone way too far, you can back things up
| | 02:10 | and restore some pretty realistic detail to your image.
| | 02:14 | And if that's not enough, just click
on the Reconstruct button again.
| | 02:17 | Now, it's going to take several clicks of that Reconstruct
button to get back to the original version of the image.
| | 02:23 | And of course, reconstruct is undoable, you can press Ctrl+Z or
Command+Option+Z to back up here, Ctrl+Shift+C or Command+Shift+C
| | 02:32 | on the Macintosh side, it goes ahead and forwards
steps through the reconstruction in this case.
| | 02:37 | In any event, I am going to press Ctrl+Alt+C or Command+Option+Z
on the Mac in order to restore a few of those bad manipulations
| | 02:43 | because in addition of reconstruct,
you have this guy Restore All.
| | 02:46 | If you just want to abandon all your modifications, get back
to the original image, then click on the Restore All button,
| | 02:52 | and you will return to the original
version, in this case, of the Raphael fellow.
| | 02:58 | Now, one other way to work, and by
the way, once again, that is undoable,
| | 03:03 | I just need to make sure you understand how wonderfully flexible
this function is, so if I press Ctrl+Z or Command+Z on the Mac,
| | 03:10 | I will undo the effects of the Restore All button.
| | 03:13 | If I press Ctrl+Z or Command+Z again, I will
redo the effects of the Restore All button.
| | 03:19 | You have one other sort of DEFCON 4 option here,
and that is you can press and hold the Alt key
| | 03:25 | or the Option key on the Mac and click on this Reset button.
| | 03:28 | Notice, that cancels changes to reset.
| | 03:30 | That not only resets the image just
as the Restore All button does,
| | 03:34 | but it also resets all the settings inside of the dialog box.
| | 03:38 | So it's going turn Show Backdrop off,
it's going to turn Show Mesh off,
| | 03:42 | it's going to reinstate the original
tool options and so on and so on.
| | 03:47 | And that's not necessarily something that you want to do.
| | 03:49 | So I would lay off Alt-clicking on cancel, but know that it's
there, just in case you want to restore your original settings.
| | 03:56 | And I would focus on using the Restore All button in
order to reinstate the original version of an image.
| | Collapse this transcript |
| Twirl, pucker, and bloat| 00:00 | Now we have seen the Warp tool, we have seen the
reconstruct tool let's keep moving down the list.
| | 00:05 | The next tool is the Twirl Clockwise tool and it's called Twirl
Clockwise because if you click and hold with the tool it's going
| | 00:12 | to go ahead and twirl whichever element is
falling under the cursor in a clockwise direction.
| | 00:18 | And notice for me it's twirling very slowly.
| | 00:20 | That's because I have my brush pressure set
to 20% which is a low setting of course.
| | 00:25 | Now you can also twirl counterclockwise if you like
by pressing the Alt key and clicking with the tool,
| | 00:30 | that's Option clicking with the tool on the Mac.
| | 00:33 | Now I do stress that I am clicking and holding
with the tool, I am not dragging around with it
| | 00:38 | because it becomes a little unpredictable
if you start dragging around notice that.
| | 00:42 | Alright and I end up upsetting the bridge of the nose and
everything following the Twirl Clockwise tool which of course
| | 00:49 | as I said twirls in both directions depending
on whether the Alt or Option key is down.
| | 00:54 | After that we have got the Pucker and
Bloat tools which are interchangeable
| | 00:58 | with each other subject to the Alt or Option key as well.
| | 01:02 | The Pucker tool if I go ahead and select it
allows you to reduce the size of an element.
| | 01:06 | The Bloat tool I go ahead and select it now here from
the list allows you to increase the size of an element
| | 01:13 | and in this case I am giving this guy
sort of these Steve Tyler lips here.
| | 01:18 | Actually it looks a little more like Liv Tyler but that's okay.
| | 01:22 | Now if you want to interchange these two tools if you
just want to stick with one and sort of mix it back
| | 01:27 | and forth then you can press and hold on the Alt key.
| | 01:30 | So for example if I press the Alt key or the Option key on the
Mac I am going to convert the Bloat tool into a Pucker tool.
| | 01:37 | Alright so there is those guys Twirl Clockwise, Pucker
and Bloat some very useful tools as it turns out,
| | 01:44 | I would call these guys the next most
useful tools after the Warp tool.
| | 01:48 | In the next exercise we will see this group of tools that's
not quite as useful but they come in handy every once
| | 01:55 | in a while the Push Left tool, the Mirror
tool and the Turbulence tool, coming right up.
| | Collapse this transcript |
| Push, mirror, and turbulence| 00:00 | Hey, you are back that's awesome news, because now we are going
to be taking a look for starters that this guy right here,
| | 00:06 | the push left tool and what it allows you to do
is drag with the cursor in order to push details,
| | 00:13 | in this case I am pushing details to the right.
| | 00:15 | So may wonder why in the world is it called the
push left tool and I want to stress by the way,
| | 00:21 | that I have got this low brush pressure setting.
| | 00:23 | If you are working with a brush pressure of a 100% you are going
to be moving your pixels a lot more quickly inside of the image.
| | 00:30 | Well, the reason I am pushing the pixels to the right instead
of the left is that I am dragging downward with the tool.
| | 00:36 | In order to push to the left you have
to drag upward with the tool, like so.
| | 00:41 | Also notice, if I drag to the right, I am going to push
upward and if I drag to the left I am going to push downward
| | 00:50 | and in my case, I am going to go ahead
and push this hat down a little bit.
| | 00:53 | If you want to for whatever reason change that behavior
for example, push the pixels to the left as you drag down,
| | 00:59 | then you press and hold the Alt key or the Option key on the Mac.
| | 01:02 | So this is a result of Alt or Option dragging downward,
this is the result of Alt or Option dragging upward
| | 01:09 | and I will let you experiment with that tool from this point on.
| | 01:12 | But where it can be really handy is reducing the size of
limbs, for example if you have a heavy arm or a heavy leg,
| | 01:20 | you can make it much slimmer by for example, dragging down
with the tool along the left side of the limb or dragging
| | 01:28 | up with the tool along the right side of the limb and so on.
| | 01:32 | Alright, so anyway give it a try.
| | 01:34 | These next guys are a lot less useful.
| | 01:38 | In fact I have yet to come up with a real world application
of either of them but they sure are weird, so I will go ahead
| | 01:44 | and select this next guy, which is the mirror tool and
notice by the way, I am really mentioning this but everyone
| | 01:49 | of these tools has a keyboard shortcut and
that keyboard shortcut is shown in parenthesis.
| | 01:54 | So if nothing else go ahead and memorize the Warp tool
is W, so you can always switch back to that Warp tool.
| | 02:01 | You may also want to keep in mind that the Blow
tool is B and perhaps the Pucker tool is S,
| | 02:07 | but you know why bother since you can get to
the Pucker tool when you are using the Blow tool
| | 02:10 | on the fly by pressing the Alt or Option key.
| | 02:13 | Anyway I digress, we are talking about the Mirror tool here and
I am going to go ahead and increase the brush pressure to 100%
| | 02:19 | so that we can see in a very radical
way how the Mirror tool works.
| | 02:24 | If I drag from the right to the left, I go ahead
and get rid of the eyeballs in this guy's head.
| | 02:34 | What I am doing is I am reflecting his cheeks and
so he ends up looking quite strange as it turns out.
| | 02:42 | And you might find this to be a useful effect for a strange
science fiction book covers, something along those lines.
| | 02:48 | Alright, I am going to undo the modification because you
will see now, if I drag in the opposite direction I am going
| | 02:54 | to mirror a different portion of the
image, I am going to mirror it downward.
| | 02:57 | So it's a lot like that Push tool except, instead
we are mirroring details inside of the image.
| | 03:03 | Now, what I want to do is I want to drag not this
direction, let's try dragging the other direction.
| | 03:08 | I want to mirror those eyeballs if I can,
but I am not having much like there we go.
| | 03:12 | Now, I am starting to mirror those eyeballs.
| | 03:14 | Here we go, now we are seeing mirror versions of
the eyeballs, which I think are a little more sort
| | 03:20 | of give you a better sense of what's going on with these tool.
| | 03:23 | Alright, but anyway you can mirror whatever portion of the
image you want, have a blast with that tool if you dare.
| | 03:30 | The final tool, the Turbulence tool here is just whacky.
| | 03:35 | What it does is it applies random
distortions as you drag with the tool.
| | 03:40 | So notice as I drag around I am just doing completely weird
things and if I just click and hold things are just happening,
| | 03:49 | basically inside the image and it is entirely random.
| | 03:53 | So, you know again a fun tool yes, a practical tool I
wouldn't think so and you can control by the way the amount
| | 04:01 | of turbulence that's going on by modifying
this turbulence jitter value right there.
| | 04:06 | I would say at this point, our best bet is to go back to
the reconstruct tool and start dragging like crazy in order
| | 04:13 | to get rid of some of the junk that we have applied so far.
| | 04:16 | So in the next exercise we will see these final
two tools; we don't need to worry about these
| | 04:21 | because we know how the Hand tool and the Zoom tool work.
| | 04:24 | We will see these guys right here though, the Freeze Mask tool
and the Thaw Mask tool, which allows us to mask away portions
| | 04:31 | of the image so that they are safe
from our bizarre modifications.
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| Protecting regions with a mask| 00:00 | Alright I have gone ahead and restored
the original version of the image
| | 00:03 | so that we can see how we can protect portions
of the image using the mask functions.
| | 00:10 | Let's say for example that I want to focus
my attention on the face and only the face,
| | 00:16 | I want to protect the hat and I want to protect the hair details.
| | 00:20 | Then I would go over to this tool
right here that's the Freeze Mass tool.
| | 00:23 | It allows you to paint in a mask
sort of in a quick mask like fashion.
| | 00:28 | So I am just going to paint over the hat and
then I will paint down here over the hair.
| | 00:33 | It's not really necessary that I go too far out, I
could paint all over the place over here but as long
| | 00:38 | as I constrain my mashinations to this
area inside the face I should be okay.
| | 00:45 | And I am going to paint down over this region as well.
| | 00:48 | Now if you end up making a mistake and you paint into the face
| | 00:51 | like this then you could erase away the mask
by selecting this guy the Thaw Mask tool.
| | 00:56 | So even though these tools have really bizarre names freeze
mask and thaw mask as if somehow masking is cold I don't know
| | 01:04 | where that comes from but they have good icons.
| | 01:07 | They have got a little painting icon for adding to the mask and
they have got a little eraser icon for erasing away the mask
| | 01:15 | which makes a lot more sense I think
than that strange ice metaphor there.
| | 01:20 | Alright so I will paint away, I will go ahead and erase away
that mask that I had inside of the face and then I will paint
| | 01:26 | in a little additional mask just right around the
hair detail so that I am tied to the face here.
| | 01:32 | Now I will go ahead and grab some wacky tool like the turbulence
tool and I will increase the size of my brush pretty dramatically
| | 01:41 | and just sort of click and hold here at various locations.
| | 01:44 | And notice no matter what horrible things I do to the face,
| | 01:48 | I am not going to affect the hair and
I am not going to harm the hat either.
| | 01:55 | So the hat and the hair are protected from my wacky and
I think plain undesirable modifications at this point.
| | 02:05 | He has that turbulence tool, I am sure you
will find many a real world use for it.
| | 02:10 | Alright anyway I am going to go ahead and undo that modification.
| | 02:14 | You will get a sense of what I am talking about and if you feel
like getting rid of your mask at any point entirely getting rid
| | 02:19 | of it then just go over here to your
masking functions and you can click
| | 02:23 | on the None option like so in order to get rid of the mask.
| | 02:27 | And notice that we did bring a little bit of the hat into the
face but that's because I had a little bit of hat on mask there.
| | 02:35 | You also in case you want to get really serious about
masking you have some options for replacing the mask
| | 02:41 | and adding to the selection which actually
subtracts from the mask and subtracting
| | 02:45 | from the selection which really adds to the mask and so on.
| | 02:48 | And what these options allow you to do is bring in masking
elements from either the transparency mask that's associated
| | 02:54 | with the layer so the layer outline itself, any selection
| | 02:57 | that you may have active inside Photoshop
and the layer mask if indeed there is one.
| | 03:02 | Now these options are dim for me because I have no selection
and no layer mask associated with this specific layer.
| | 03:09 | Alright, that's it folks.
| | 03:10 | That is how the various options inside
the liquefy dialog box work.
| | 03:16 | At this point I recommend you just cancel out
because we haven't done anything very useful so far.
| | 03:21 | So go ahead and cancel out of the liquefy dialog
box so we don't mess up this fellow's face.
| | 03:27 | In the next exercise we are going to get a big dose
of a practical application of the liquefy filter
| | 03:33 | when we attack this image right here Madeline.jpeg.
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| Applying a digital facelift| 00:00 | Now in this exercise, we are going to take a step
at a practical application of the Liquefy command.
| | 00:06 | And we are going to try our talents on this
image right here, it's called madelina.jpg
| | 00:11 | and it's available to you inside the 16 Warp Liquefy Folder.
| | 00:17 | And I don't know quite what the story is behind this image,
| | 00:20 | I don't know if Raphael hated this
woman or exactly what the deal was.
| | 00:25 | She does have somehow or other a very droopy face and pretty
astronomically long nose by comparison to the proportions
| | 00:35 | of the rest of her face as well as something
of gargantuan bowing ball of a forehead here.
| | 00:41 | These dinky little lips, this nice cleft chin of course.
| | 00:44 | A healthy undercarriage of flesh here just above the neck.
| | 00:49 | And then some of sloppiness, most
boneless shoulders you ever darn did see.
| | 00:54 | Now back in the 1500s, this porcelain look was all the rage.
| | 00:57 | Nowadays not so much so, so I would like to take this image and
give it something of a quite literal facelift and we are going
| | 01:05 | to try to make this image look something more or less like this.
| | 01:09 | This is an image that I am calling madelooker.jpg,
hubba-hubba, it's dramatic improvement, I would say,
| | 01:17 | it's not necessarily the improvement
that you might want to choose.
| | 01:20 | The eyes might be a little bit too big and the
lips might be a little bit too big as well.
| | 01:24 | You can make your own choices and certainly the
effect that I apply in front of you right now is going
| | 01:29 | to look somewhat different as every
application of the Liquefy filter does.
| | 01:34 | But anyway let's go ahead and return to the Madeline,
oh my goodness the madelina.jpg image right here.
| | 01:41 | And let's see what can be done, I am going to go up to the
Filter menu and I am going to choose the Liquefy command
| | 01:47 | or again I could press Ctrl+Shift+X
or Command-Shift-X on the Mac.
| | 01:52 | And I have got a gargantuan brush at this point especially
where this fairly low resolution image is concerned.
| | 02:00 | This image doesn't have really all that many pixels going on.
| | 02:03 | So I am going to take the brush size down quite a
bit and that is the way that you are going to want
| | 02:09 | to work inside the Liquefy command, that is to say with high
resolution images you are probably going to want to be working
| | 02:16 | with large brushes with low resolution images, you are
probably going to want to be working with small brushes.
| | 02:22 | I am not going to be using the Turbulence tool, believe it or
not, I am going to switch up here to the Forward Warp tool.
| | 02:28 | And at this point, I am going to drag
in some of this flesh a little bit.
| | 02:32 | Now I am not seeing any modification, notice I am dragging
here and I am not seeing anything happen on screen,
| | 02:38 | it's not because I have too low of a pressure value,
a Brush Pressure value, it's max out to a 100%.
| | 02:44 | So what's going on, it's this darn Show Backdrop option
that still turned on and it's trying to show me all layers
| | 02:51 | in front of my existing layer at a 100% opacity.
| | 02:55 | So in other words, the original version of the image
is covering up the modified version of the image,
| | 03:01 | so I am never going to see the results of my edits until I have
to modify these settings or turn off the Show Backdrop function
| | 03:08 | because after all, this is a single
layer image, there is nothing to see.
| | 03:12 | Except that I have sort of ruined
my image, so I am going to go ahead
| | 03:16 | and click on Restore All in order to bring this jaw back here.
| | 03:20 | And I am also going to turn off the Show Mesh functions because I
just want to focus in on this image right here and nothing else.
| | 03:27 | Notice I am making very-very small manipulations.
| | 03:32 | I don't want to make big manipulations because even my
small adjustments are softening the image dramatically.
| | 03:39 | Alright so you just want to make very small adjustments
when you are working inside of this dialog box.
| | 03:46 | Small adjustment go long ways, don't you know.
| | 03:49 | Now I am going to switch to the Blow tool right here and I am
going to reduce my Brush Pressure value to 50% and I am going
| | 03:57 | to increase the size of my brush a little bit and I am
going to click and click to expand the size of those eyes.
| | 04:05 | And I might go ahead and click on the lips as
well to expand their size ever so slightly here,
| | 04:11 | I don't want to expand them too much, just a little bit.
| | 04:14 | Now I am going to Alt+Click with this tool in
order to pucker the flesh underneath her chin.
| | 04:21 | And this is a really great way, notice
that I am clicking many times here.
| | 04:25 | This is a really great way to get rid of access flesh
underneath a jaw line, definitely a nice way to work.
| | 04:31 | Now I will go ahead and get my Warp tool once again,
increase the size of my brush and drag this area slightly up.
| | 04:38 | Now the Warp tool doesn't behave quite
as well with the low pressure setting.
| | 04:42 | And I will go ahead and stick with this low pressure setting
for a little bit here for a few strokes of this brush.
| | 04:49 | Alright that works out pretty well and I
might drag this area down a little bit,
| | 04:53 | it's okay to go back and forth a little bit using these tools.
| | 04:57 | Alright let's take the Brush Pressure value back
to 100% and this is a fairly time consuming filter,
| | 05:03 | if you haven't already gotten the sense of that.
| | 05:05 | I am going to go ahead and increase the size of the mouth
and I might drag up the corners of the mouth as well to get
| | 05:11 | for a smile, I mean it's no crime to smile for a
photograph, don't you know or even for a painting,
| | 05:18 | they say they tell me I haven't actually posed for one lately
but if I were to, I might go ahead and give it a big old smile
| | 05:25 | or at least something resembling a smile like this here.
| | 05:28 | And I am going to drag the nose up just a
little bit because I do think it's awfully long.
| | 05:33 | There is nothing wrong with this nose except I just
think, I just think it was not really that long
| | 05:39 | in real life unless she is related to Pete
Townshend, you never know, but anyway I will go ahead
| | 05:43 | and drag these items in, ever so slightly here.
| | 05:47 | Finally, I might drag down on her hairline like this in order
to reduce the size of the forehead or I could grab the Blow tool
| | 05:58 | and click a few times inside of the hairline like so in order
to add a little bit of hair information to this area here.
| | 06:06 | I don't have to get rid of this forehead entirely, it's okay
that's she has got a forehead that means she is smart after all,
| | 06:12 | but we might not want it to take up
quite this much area inside of her head,
| | 06:19 | mean that we want to devote a little
more information to the features.
| | 06:22 | Alright the bigger issues are her neck
which I certainly don't want to blow,
| | 06:27 | so I just made her neck bigger that
wasn't what I wanted to do at all.
| | 06:30 | I am going to switch back to the Warp tool here and I am
going to move the neck inward on both sides in order to give
| | 06:37 | that neck more of a thin appearance, more of a sort
of you know a swan like appearance don't you know.
| | 06:43 | Now I am going to zoom out and it's time to take on those
shoulders, I mean what is going on with those shoulders,
| | 06:52 | I suspect she was deboned at some point or
she was wearing one of those long necklaces
| | 06:57 | but I don't think they were in fashion in 16th century Europe.
| | 07:02 | Alright what I am going to do is I am going
to grab this Push Left tool and it's kind
| | 07:06 | of a mysterious tool you never know which way it's going to go.
| | 07:08 | What I suggest you do is just sort of drag with
the tool to get a sense of what's happening,
| | 07:12 | that was the wrong direction for her shoulders obviously.
| | 07:15 | I want to take them down a little bit and I am
going to do that by clicking and then Shift+Clicking
| | 07:20 | in order to draw a straight line of movement.
| | 07:23 | Now that's too much movement, so I will undo that modification
| | 07:26 | and I will reduce my Brush Pressure
to let's say 20% for this tool.
| | 07:31 | Then I will click and Shift+Click again
just to move things down ever so slightly.
| | 07:35 | Try it again to see if I can get
a little more movement down there.
| | 07:38 | And then I will try the same thing by
clicking and Shift+Clicking on this side.
| | 07:43 | And you can click and Shift+ Click in different directions,
in other words one time you might want to take it this way
| | 07:49 | and other time you might want to take this way and so
on in order just to sort of vary things up a little bit.
| | 07:55 | And then you go back to your Warp tool by pressing the W
key, so every one of these tools tends to be a preamble
| | 08:02 | to revisiting the Warp tool which is your
big major tool inside of this dialog box.
| | 08:07 | I am now going to drag downward a little bit and I have got
too low of a Brush Pressure to really get anything done,
| | 08:13 | so I am going to raise it back to a 100% and then I am going to
move the shoulder details down a little bit from the neckline,
| | 08:20 | I might also drag some of this hair detail out or I might
load it a little bit to increase the size of that hair
| | 08:29 | without increasing the size of her jaw flesh there.
| | 08:33 | Alright anyway let me go back to the Warp tool here and let's
drag the shoulders up, but with a bigger brush I will go ahead
| | 08:39 | and jam on that right bracket key a little bit.
| | 08:42 | Now let's move these details around a little bit, I just I
want her to have the appearance of an actual shoulder blade
| | 08:49 | and you know those things, so shoulder bones that you have,
that most of us have anyway, she seems to be missing them.
| | 08:58 | Now I need to drag in on the arm a little bit, but notice as I
drag it on the arm I am going to do an exaggerated movement here.
| | 09:05 | Notice that I start revealing the transparent area, in other
words I am revealing non-existent pixels inside at the image
| | 09:12 | and I don't want to do that so, I will undo that modification,
I will grab the ridiculously named Freeze Mass tool right here.
| | 09:20 | Decrease the size of my brush and I will just
mask this edge, so it doesn't get damaged.
| | 09:25 | Now I will return to the Warp tool, increase its
size a little bit and move the shoulders inward.
| | 09:33 | And notice now I am stretching at the background but
I am not revealing non-existent areas of the image.
| | 09:39 | Now if you get weird stuff like this
where the edges turn rumply on you,
| | 09:44 | which they frequently do when you are using the Warp
tool, then attack those rumples using a very small brush
| | 09:51 | and you can drag those areas back outward like so.
| | 09:54 | And I am going for as much of a smooth
transition as I possibly can at this point.
| | 10:02 | Now it looks pretty darn good.
| | 10:03 | Now I am going to go over to this area of the image, attack it, a
little bit more as you can see it's really a matter of going back
| | 10:11 | and forth inside of the various details inside the image,
until you get an affect that you think you can live with.
| | 10:18 | Now I think this looks pretty darn good and
if you want to get a little bit of a before
| | 10:22 | and after comparison just go ahead
and click on that Restore All button.
| | 10:26 | This is the original version of the madelina.jpg
image and if I now press Ctrl+Z or Command-Z
| | 10:33 | on the Mac, this is the modified version of the image.
| | 10:37 | We are not going to click OK quite yet, we are going to do that
in a next exercise, but first we are going to take a moment
| | 10:44 | to save our mess so that we don't make any mistakes and as I say
that's something we will do coming up in the very next exercise.
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| Saving and loading mesh settings| 00:00 | Once you come up with an effect that
you like, it's very tempting to go ahead
| | 00:04 | and click on the OK button, but I don't want you to do that.
| | 00:08 | Here is the reason why, if you later, working inside a
Photoshop, you later decide that you don't like the modifications
| | 00:14 | that you applied, you come across some little problem with
your Liquefy effect and you go ahead and undo that modification
| | 00:21 | and you revisit the Liquefy dialog box, you will
not be presented with your last applied settings.
| | 00:27 | There is no way know how to make that happen automatically
that is to say, instead you will have to reapply your settings
| | 00:34 | from scratch and that is a big pain in the neck,
| | 00:37 | because after all you are probably spending 15-20
minutes inside the Liquefy dialog box maybe even longer.
| | 00:44 | So you want to go ahead and take the time, make the effort
to save your Mesh settings before leaving this dialog box.
| | 00:52 | So before you ever click OK, make sure you click on this button
right here Save Mesh and I want you to do that right now.
| | 00:59 | It brings up this little dialog box right here.
| | 01:02 | I am going to click on Browse Folders, so
that I can see the folders on my hard drive
| | 01:06 | and I am working here inside the Exercise Files folder inside 16
Warp and Liquify, you can save your settings anywhere you like.
| | 01:13 | I can see this file right here MadelinaSettings1.msh.
| | 01:17 | Those are the settings that I saved earlier when I
applied some other settings inside the Liquefy dialog box.
| | 01:24 | This time around I am going to save
my settings as MadelinaSettings2.msh.
| | 01:30 | Both of these files will be available to
your inside the 16 Warp Liquify folder.
| | 01:36 | Okay so go ahead and click on the Save button in order
to save those settings out and that's all it takes.
| | 01:41 | It's that quick, it's that painless as
long as you get in habit of doing it.
| | 01:45 | Now if you want to, you could click on Load Mesh and load
my other settings, for example in order to see how they look
| | 01:52 | by comparison, so those were the settings I
applied before, pretty good I would say actually.
| | 01:57 | Now I am going to click on Load Mesh and load my
newer settings MadelinaSettings2 and I will click open
| | 02:02 | and these are the settings that I applied
this time around, a little more subtle,
| | 02:06 | a little less skinny in places probably
better settings all the way around.
| | 02:10 | And now I will click on OK in order to apply those
settings to the image, so this is the before version
| | 02:17 | of the image this is after version of the image.
| | 02:20 | Thanks to the Liquify command, an extremely
powerful retouching command available
| | 02:25 | to us thankfully here inside the mighty Photoshop.
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|
|
17. Vanishing Point 2.0Planes and perspective| 00:01 | Despite Photoshop's considerable and much ballyhooed capabilities,
it typically confines you to the two dimensions of your canvas:
| | 00:08 | height and width. Granted you have the added dimension
of layers and you can add bevels and drop shadows to
| | 00:14 | simulate depth, but there's precious little in the way of
3-dimensional imaging tools and inside the Standard Edition
| | 00:20 | of the program, that precious little goes by the name of
Vanishing Point. Introduced in Photoshop CS2 and updated in CS3,
| | 00:27 | the Vanishing Point filter lets you edit an image in perspective.
| | 00:31 | Mind you it doesn't miraculously bring your 2-D layers
into 3-D space, but it does a heck of a job pretending.
| | 00:38 | The filter lets you divide your canvas into a series of rectangular
planes that match the angles of actual objects and surfaces
| | 00:44 | in the photograph. Then you can move, paint, clone and even
heal areas of your image within that simulated 3-D space.
| | 00:52 | It takes a little bit of time to set up the planes and
the tools don't always work the way you might expect them to,
| | 00:57 | but I think you'll agree that Vanishing Point opens a whole world
or at least another dimension of image editing flexibility and fun.
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| The Blue Gallery| 00:00 | Throughout the first several exercises in this chapter, we will
be working with the image you see on screen before you hear,
| | 00:06 | it's called bluegallery.psd and it's
available inside the 17 Vanishing Point Folder.
| | 00:13 | And this gallery image here shot in Perspective, one can't really
help but shoot an image like this in Perspective after all.
| | 00:21 | This image comes to us from Malcolm Romain.
| | 00:24 | And what we are going to do, we are going to make several
modifications to this image using the Vanishing Point filter.
| | 00:30 | I am going to go ahead and switch to the
full-screen mode and zoom in a little bit.
| | 00:34 | We are going to clone away these
electrical sockets along the baseboard.
| | 00:39 | We are going to clone away this electrical
socket in the floor of the image.
| | 00:44 | We are also going to put several paintings into these blue
frames and we are going to add some type in Perspective
| | 00:52 | above these two frames right here
on the central wall of the image.
| | 00:57 | Now as I say this image comes to us from Malcolm
Romain, Malcolm is the one who created the blue frames.
| | 01:04 | If you take a look at the reflections
of the paintings in the floor,
| | 01:07 | you can see that while they are very
dark, they are not by any means blue.
| | 01:12 | So the photographer went ahead and switched out the original
paintings for these blue campuses, which is very handy for us
| | 01:19 | because it means that we can easily mask the new images inside
of these frames as I have done in the case of this image here.
| | 01:28 | If you take a look at the Layers palette, I will go
ahead and open it up here you can see that in addition
| | 01:32 | to the Background layer and I will go ahead and
widen this palette just a little bit in addition
| | 01:37 | to the Background layer, which looks like this.
| | 01:39 | If I Alt+Click in the eyeball in front of
background or option click on that eyeball,
| | 01:43 | you can see that this frame right here used to be empty
inside the original eyestockphoto.com image then I went ahead
| | 01:51 | and added this layer right here that I am
calling guy, I will Shift+Click on the Layer mask
| | 01:56 | so that you can see it's actually a vertical image from
photographer Lise Gagne that I have thrown into place
| | 02:03 | and I have mapped into the scene
using the Vanishing Point filter.
| | 02:07 | So I have mapped it into Perspective to match the
scene after all and then I masked the image inside
| | 02:14 | of the blue frame using this Layer mask right here and
then finally I added a little bit of shading in the form
| | 02:20 | of the Shading layer that is masked
inside of the guy layer as a clipping mask
| | 02:26 | and it's actually a very simple shading effect,
we will see more of it in a later exercise.
| | 02:32 | Alright so I just wanted to give you a sense of
where we are here, what our environment is like.
| | 02:38 | Inside the next exercise we are going
to visit the Vanishing Point filter
| | 02:42 | and we are going to create our first Perspective grid.
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| Introducing Vanishing Point 2.0| 00:01 | Alright let's get our first taste for the
Vanishing Point Filter and by the way what we are
| | 00:04 | about to see is Vanishing Point 2.0
newly updated inside of Photoshop CS3.
| | 00:11 | Make sure that you have the bluegallery.psd image open from
the 17vanishingPoint folder then go up to the Filter menu
| | 00:19 | and choose the Vanishing Point command or you can
press Ctrl+Alt+V or Command+Option+V on the Mac.
| | 00:25 | And just as with the Liquify function that we saw in the
previous chapter Vanishing Point brings up an entire utility.
| | 00:34 | You will see that it comes complete with its own toolbox, a
bunch of options along the top of the screen that vary depending
| | 00:41 | on the selected tool and an image
window in which you do your work.
| | 00:46 | You also see that I have already drawn a base plane.
| | 00:50 | Go ahead and zoom in on this image if you need to so that you are
seeing it at the 10% zoom size and you can checkout the zoom size
| | 00:57 | down here in the lower left hand corner of the
window and of course you zoom and scroll inside
| | 01:02 | of Vanishing Point the same way you
do in the larger realm of Photoshop.
| | 01:07 | So I press Ctrl+ or Command+ on the Mac in order to zoom in.
| | 01:11 | Now the reason I have this base plane in place here,
this perspective plane in place is just to show you
| | 01:19 | that once you draw a plane and click the OK button here
inside the Vanishing Point Filter the plane gets saved along
| | 01:25 | with the image and it doesn't matter what file format
you use that is to say this could be for example,
| | 01:30 | in the case of this image this is a layered
native Photoshop, a native psd file.
| | 01:35 | But I could just as easily save a plane with a
tif document or a jpeg document or what have you.
| | 01:40 | Now I want to give you a sense of how this plane was created.
| | 01:43 | So let's go ahead and delete the existing plane by clicking on
it to make sure it's active and then pressing the Backspace key
| | 01:49 | or the Delete key and that will go ahead and switch you
automatically to this tool right here the Create Plane tool
| | 01:55 | that allows you to lay down a base plane and this is a 4.
| | 01:58 | plane meaning that it has four corners it's basically a rectangle
rendered in perspective and here's how you draw that base plane.
| | 02:06 | We are going to draw it along the central wall just
because it's the most obvious surface inside the building
| | 02:11 | and that's the way I always recommend you work, always
choose whatever is the most obvious plane, work with it,
| | 02:16 | you can draw other planes out from it as we will see
in a moment but for now go ahead and click at one
| | 02:22 | of corners along this wall then click at another corner, click
at a third corner like so and then click at a fourth corner
| | 02:30 | and it doesn't matter if you get things exactly right for now
because we will be able to modify this plane in just a moment.
| | 02:37 | But notice that as soon as you click four times
Photoshop goes ahead and renders out your plane.
| | 02:44 | Now at this point I can modify the plane by dragging a
corner handle like so in order to get those corners exactly
| | 02:51 | where they need to be and notice as I am moving
the corners around my grid is changing colors.
| | 02:57 | These colors actually mean something
so you should pay attention to them.
| | 03:00 | When you see a blue plane it means that Photoshop is happy
with you that this is a good plane and it can work with it.
| | 03:07 | If you see a yellow plane let me go ahead and get the yellow one
here, it means that Photoshop is none too happy with this plane,
| | 03:13 | it doesn't really think it works very well for the image
but it will do its best to keep up with you no guarantees.
| | 03:19 | And then finally if you see a red plane that
means Photoshop is just plane angry at you forget
| | 03:25 | about it it's not even going to try to play ball.
| | 03:28 | So that's what's going on you have got blue, yellow
and red don't settle for anything less than blue,
| | 03:34 | don't settle for yellow there is no point in doing
that and definitely don't leave the plane red.
| | 03:39 | Alright at this point we do need to get this grid exactly right
because every other grid we create from this point on is going
| | 03:46 | to be based on this central grid and once we have a lot of
planes based on each other things get pretty complicated,
| | 03:52 | things get pretty gnarly in terms of trying to modify the plane.
| | 03:55 | So make your first plane its absolute best and I
am going to do that by just dragging these corners
| | 04:00 | around until I get them exactly in place and here's
a little trick you might want to be aware of.
| | 04:05 | If you press and hold the X key you will zoom in
temporarily for as long as the X key is down you will zoom
| | 04:11 | in to twice the current level of magnification.
| | 04:13 | So I am zooming in at 200% right there then I release the X
key in order to go back out then I will drag this corner handle
| | 04:21 | around press the X key to make sure I have
it exactly in place as I do then release X
| | 04:26 | and release the mouse button in order to set that point down.
| | 04:30 | I will go ahead and drag this guy
up here to where it wants to be.
| | 04:33 | Notice that I am trying to follow the angle
of the base of these light units right there.
| | 04:39 | Alright so I will drag this corner around
press the X key in order to make sure
| | 04:42 | that it's in exactly the right place and then release.
| | 04:45 | We have a bit of a bow associated with this wall it may not be
the wall it maybe the distortion associated with camera lens
| | 04:53 | but in any case we have a little bit of bow
that we are not going to be able to account
| | 04:57 | for with this very straight line along the edge of the plane.
| | 05:01 | Nothing to worry about, we are just concerned
about these corners and finally let's get this guy
| | 05:05 | into place again I will press the X key in order to zoom in
tight and make sure I have got it exactly where it needs to be,
| | 05:12 | everything looks good then I will release the X key
| | 05:15 | and I have got my base plane yeah this is the
first of several planes that we will be creating.
| | 05:21 | So go ahead and make sure that you have got one drawn and
then join me in the next exercise when we draw a bunch more.
| | Collapse this transcript |
| Drawing out perpendicular planes| 00:00 | Now that we have drawn the base plane, it's
time to draw out some perpendicular frames
| | 00:06 | to cover the other walls inside of this image.
| | 00:09 | First I am going to go ahead and scale this existing plane just
a little bit by dragging down here on the bottom handle in order
| | 00:16 | to cover up this baseboard and I am also going to
drag upward along this wall in order to just make sure
| | 00:22 | that I have got this plane set up accurately.
| | 00:25 | Notice as you move the plane up and down
that it matches the perspective of the scene,
| | 00:30 | so you can see now that we have an inclined
top that's going down into the right here.
| | 00:36 | And I just want to make sure that it aligns with the molding
up toward the top of this image and it looks pretty good.
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